Kama Samuha By Sri Ananta Kavi Adobe Converted

KAMA-SAMUHA

Trans. from Sanskrit, the preface and commentary of AA Ignatyev, Kaliningrad, 2016 CONTENT Foreword ................................................. ........................................... 3 Kama-samuha. Translation ................................................. .............................. 21 Commentary ................................................. ....................................... 124 Dictionary of names ................................................ .......................................... 177 Dictionary of objects and terms .............................................. ............. 179 file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Dictionary of toponyms and ethnonyms .............................................. .......... 181 Dictionary of flora and fauna .............................................. ....................... 183 Sources of Kama Samukhi .................................................... ..................... 185 Famous Anthologies of Sanskrit Poetry ........................................ 188 Literature ................................................. ................................. 189 About the author of the translation ............................................... ............................... 194 FOREWORD To your attention is a translation from Sanskrit into Russian "Kama Samukhi", a littleknown monument of Sanskrit literature dedicated to the theme of love. The very word kAma means first of all erotic love, sensual desire and sensual pleasure [Apte 1988: 143; MonierWilliams 2015: 271]. This word also serves as the name of the god of love, an analog of the ancient Greek Eros. God Kama appears in the image of a beautiful young man sitting on a parrot and holding a banner with a picture of a dolphin and an onion in which instead of a string of bees, as well as five flower arrows. With these arrows he excites a passion of love in the hearts of all beings [Indian philosophy 2009: 432; Hinduism 1996: 226; Myths 1991: 618]. As for the word samUha, its meanings are "Abundance, abundance, quantity, union, union" [Kochergina 1996: 203; Apte 1988: 589-590]. Thus, the very name "Kama-samuha" can be translated as "a collection of [poems] about love" or even an "encyclopedia of love." From the very beginning, Indian culture was permeated with eroticism. As Arthur Basham notes, "all Hindu literature, both religious and secular, literally abounds with hints of sexual meaning, sexual symbolism and frank erotic descriptions" (quoted in [Bash 1977: 184]). And echoing him, W. Doniger writes that "Kama is as old as Hinduism" [Doniger 2016: 149]. Already in the famous cosmogonic hymn of the Rigveda "Nasadiyah" (X.129), the desire (kAma) is regarded as the "first seed of thought", as the primary impulse in the process of world manifestation [Rigveda 1999: 286]. Human love is conceived as a reflection of divine love. In another place of the Rigveda, the emergence of the universe is the fruit of the co-operation of Father-Heaven with the mother Earth: "The mother has introduced her father to the law: / After all (before) she came together (with him) in spirit (and) thought. She, wishing to hold (the fruit), was pierced, moistened with fruit "(I.164.8) (cited in [Rigveda 1989: 201]). Thus, Heaven and Earth are the prototype of the universal parental couple. This image will become popular in the late layers of the samhit and in the brahmanas, where other divine pairs can reproduce it [Pintchman 1994: 31]. Accordingly, the rain is the seed that fertilizes the earth (I.100.3; 128.3; III.55.17). Gods are subject to the same passions as humans. Thus, the Sun pursues the dawn goddess Ushas (compare Eos of Greek mythology): "Surya comes from behind to the sparkling / Goddess Ushas, as a young man to a woman" (I.115.2) (cited in [Rigveda 1989: 140]). where other divine pairs can reproduce it [Pintchman 1994: 31]. Accordingly, the rain is the seed that fertilizes the earth (I.100.3; 128.3; III.55.17). Gods are subject to the same passions as humans. Thus, the Sun pursues the goddess of the dawn Ushas (compare Eos of Greek mythology): "Surya comes from behind to the sparkling / Goddess Ushas, as a young man to a woman" (I.115.2)

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

(cited in [Rigveda 1989: 140]). where it may play other divine pair [Pintchman 1994: 31]. Accordingly, the rain is the seed fertilizing land (I.100.3; 128.3; III.55.17). The gods are subject to the same passions as humans. So, the sun pursues the goddess of the dawn Ushas (cf. Eos Greek mythology.): "Surya comes back on the sparkling / Goddess Ushas as a young man to a woman» (I.115.2) (quoted in [Rigveda 1989, 140].). In Vedas ritual is conceived in the images of love relationships. The burning of the sacrificial fire by the friction of two pieces of wood is likened to coition: the upper piece represents the male organ, and the lower one - the female organ (Rigveda III.29.1-3) [Ibid: 314]. Accordingly consecrated and love the relationship of man and woman. In the hymn X.85, the earthly wedding is likened to the marriage of the god Soma, identified with the month, and Surya (here suryA, with a long vowel "a", which means the feminine gender), the daughter of the solar deity Savitar. The way of the wedding train corresponds here to the way of the Sun across the sky, and individual wedding accessories (the bride's outfit, the details of the chariot, the bulls harnessed to this chariot) are elements of the universe [Rigveda 1999: 220-224]. This anthem is still performed in India at the marriage ceremony [Pandey 1990: 172]. Atharvaveda demonstrates examples of love magic: there are conspiracies designed to charm a loved one (or loved one). These conspiracies are of a highly artistic nature and can touch the heart of the modern reader, for example, I.34.4: "I am sweeter than (most) honey, / Sweeter than honey grass, / Wish me you, / As a honey twig! / With hugging sugar cane / I walked around you for agreement; / That you become me loving, / So that you do not avoid me! " (Quoted in [Atharva Veda 1995: 173]). In the Atharva Veda, Kama is mentioned as the deity of love. However, the Vedic Kama is very different from the sweet young man of the later legends and poems: he is addressed not only to impress the "well-aimed" arrow of the heart of a beloved woman (III.25.3), but also to send to the enemies "childlessness, homelessness, "(IX.2.3) [Atharva Veda 2007: 49]. We see similar things in the literature adjacent to the Vedas (brahmanas, aranyaki, Upanisads). On the one hand, ritual is conceptualized in an erotic manner. For example, in the Shatapatha-brahmana, the sacrifice is identified with the love affair, since "the altar (vedI, zh.r.) is a woman, and the fire (agni, mr.) Is a man, a woman crouchs, embracing a man, and so there is a connection that gives offspring "(cited in [Syrkin 1996: 8]), then, the parts of the altar are likened to parts of the female body (I.2.5.15-16). On the other hand, love relationships are subject to sacralization and ritualization. In the same "Shatapatha-brahmana" (X.5.2.9-12), the cocreation of Indra and Indrani is depicted as a love affair of the ordinary human couple, but the fruit of their co-creation is the entire universe (idaM sarvam) [Pintchman 1994: 53]. AT The Brihadaranyaka Upanisade (VI.4.3) says: "Her bosom is a sacrificial altar. Hairs are grass for sacrifice. Skin - pressed [catfish]. Labia pudenda - fire in the middle. Verily, how great is the peace of the one who performs the sacrifice of vajapes, how great is the world of the one who produces the co-generation, knowing this. He acquires the good deeds of women. But in the one who produces copulation, without knowing this, women acquire his good deeds "(cited in [Upanishads 2000: 153]). file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Finally, at that time, practiced and actually sexual rites. In particular, according to the reconstruction carried out on the basis of the text "Vajasaney-samhita" (23), originally the main element of the sacrifice of ashvamedha ("ashvamedha, " " horse sacrifice "), was the ritual coition of the queen with the priest. The way of performing this ritual is curious. Several people raised the queen up, and the same thing was done with the priest. In such unusual conditions, they should have done the coition. Perhaps immediately after this priest was executed. That this was a rite of fertility is evidenced by the words of an ancient commentator describing coition in terms of grain sowing [Bhattacharyya 1975: 11; Bhattacharyya 1999: 281]. Subsequently, this "obscene" ritual was replaced by imitation of the queen's copulation under the veil with the sacrificed sacrificial horse, while the women participating in the ritual and representing all strata of society ritually lamented the horse and exchanged replicas of "obscene" erotic content with priests [Hinduism 1996: 71; Bhattacharyya 1999: 281]. Occurrence of similar representations and ceremonies, some researchers, in particular, N. Bhattacharya, saw in the conditions of people's lives. Agriculture is at the initial stage was occupied by women, descended from the gathering, so people, the foundation of the economy which has been tilling the soil, pre-existing cult Bogini- Mother gets an extra boost. The fertility of women in the representation of ancient farmers was magically associated with the fertility of the earth. Land, soil have been likened to a woman, sown field - to a woman "carried in her womb." The birth of new ears of corn resembled the birth of a child. And because of that, to promote good harvests, as well as the and the continuation of kind revered Mother Goddess. By likening the woman to the earth, by various magical rituals, ancient people sought to connect the power of female fertility with fields and gardens. These rites could have a different appearance: ritual exposure and dancing before Godrain, plowing fields with naked women, erotic dances and ceremonies [Hinduism 1996: 188; Bhattacharyya 1996: 8]. N. Bhattacarya identifies two main methods: ritual nudity and coition [Bhattacharyya 1975: 9]. It is known that in many areas of the globe the custom was widespread, when women were exposed on the field, which should favor a good harvest. This custom was followed by the inhabitants of Ancient Greece (a feast in honor of the goddess of fertility of Demeter), Flemish and British priestesses of the pre-Christian era, as well as Chinese shamans, especially when raining. This same custom was widespread in India [Ibid .: 9]. One of these rituals is colorfully described in the historical and fantasy novel by D.V. Morozov "Twice-born": "One day, walking by the river, where Nandi and I loved swimming so much, I discovered that the water had left her. Dry white sand washed the skeletons of some animals that had fallen from thirst. Many trees stood without leaves, the grass lost softness and freshness. Not far from my hut, I suddenly heard the drum beats and mournful singing, more like the moaning of a crowd. Passing through the thinned forest, I went out to the clearing and stiffened in the shadows of the trees as if stunned, realizing that he had become a witness of the sacrament, which no man was allowed to see. In the clearing there were more than two dozen girls in bright, festive robes, smeared with sandalwood paste. The girls danced - holding hands, file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

quickly walked in a circle, at the same time they threw up their arms, sagged in the waist and sang, all the time singing, almost not opening their mouths. The battle of the drum, which was held by one of the dancers, began to get more and more frequent, barefooted feet moving about the dry grass moved faster and faster. The breathing of the dancers became intermittent, hoarse, sweat dripped over the faces, pupils rolled up in trance. Among the dancers I saw Nandini. Her eyes shone with the otherworldly terrible fire of insanity, her lips reddened as from hot kisses. One of the girls, without stopping the dance, tore off the veil and, throwing it aside, began to wriggle, Like a snake in love ecstasy. Her example followed the other, in that number and Nandi. I first saw her strong body - hips, poured by female power, arms, curling snakes. Drops of perspiration appeared in a dark brown hollow between mature breasts with lilac nipples upwards. Something alarming, unnatural was in this dance of love, devoid of joy, more like a human sacrifice. I almost cried out when Nandy's legs buckled, and she dropped her bare back into the prickly grass as if it were a bed of jasmine petals. But she did not seem to feel the pain, because she continued to wriggle on the ground, throwing her head back, like in love, languishing in the waist and shamelessly pushing her legs apart. The triangle of the shadow under the soft roundness of the abdomen rushed predatory, then down, then up. Next to her, other girls stretched out in the dust, with their teeth bared in passion and the hair of locks that swirled around them. I could no longer look at this rude, almost primitive rite, long forgotten in my village and silently turned back into the thicket. I realized who these girls were giving away in passion, whose love they called for. God Indra - the ruler of a thunderstorm and heavenly fire was to be kindled by a passion at the sight of naked virgin bodies and shedding life-giving rain on the withered earth »[Morozov 1998: 23-24]. Holidays marking different stages of agricultural activity, almost always were associated with rituals, including ritual coitus. For example, many tribes of American Indians had a custom of choosing a man and a woman who joined in the field. In this case we are talking about one pair, but sometimes it took the form of mass orgiastic celebrations. Among the Khos in Chatanagpur during the harvest festival, the girls were given complete freedom in their love affairs. In Bhujia in Orissa, such a harvest festival was called Magha Porai. In Assam, during the spring festivities, women enjoyed complete freedom "without any threat to their reputation" [Bhattacharyya 1975: 9-10]. The Maratha poetic anthology "Sattasai" often mentions rampant reign during the spring holiday "Madana": "From everywhere he pulls rice vodka. / The wind blows from Malai. Bad business. Will you understand, my mother, / Who is whose lover? "(Quoted in [Indian lyrics 1978: 70]). The echo of such traditions is a modern holi festival, marking the end of the cold season and the onset of spring, as well as the ripening and harvesting of the winter harvest. Holi is celebrated on a full moon, and the Moon, as is known, has always been closely associated with female sexuality, magical powers and fertility. In the celebration of holi there is clearly an erotic element. In some villages, men dramatize attempts to master women, and they fight off, with both sides showering each other with abusive words. Special songs are singing in honor of the onset of spring, which are characterized by a very frivolous content. Representatives of all castes and classes, men and women, old men and children sprinkle each other with colored powder and pour file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

paint, often red, the colors of life. N.R. Gusev sees in the latter custom, one of the "most clear remnants of the magic of fertility" [Kotin 2005: 21-27; Bhattacharyya 1975: 287-288]. However, as N. Bhattacharya remarks, modern participants of the holiday do not even guess the original meaning of this custom [Bhattacharyya 1975: 9-10]. The development of the concept of camouflage love - in Hindu culture leads to the fact that in the first centuries AD. It is part of the three objectives of human life (puruShArtha), along with the dharma - adherence to religious precepts and artha - activities aimed at ensuring the material well-being (later they added a fourth goal -moksha -. With the release of this, according to V. G. Lysenko, kama took the lowest position in the hierarchy of human goals, and in any conflict of these goals it is kama that should be sacrificed. Although the kama is regarded as the goal of life in relation to a man, this does not mean that the woman is only a simple tool for obtaining pleasure.In the field of kama, a beautiful sex not only brings pleasure, but it also receives it [Indian philosophy 2009: 432]. The normative prescriptions concerning kama are reflected in texts related to the genre Kamashastra (compare Dharmashastra and "Arthashastra"). Everyone knows the word "Kamasutra", which became one of the symbols of Indian culture, and indeed, it is the most famous and ancient of the extant Kamashastra (this work was apparently composed in III-IV centuries in Western India). However, the content of the "Kamasutra" is not at all reduced to the notorious "technique of sex," which many associate with this monument. Rather, it is a kind of Indian domostroy. The reader of the "Kama Sutra" learns how to choose a bride and win her heart, how the wife or wife should behave, in the case of a polygamous family, how not to be deceived by the hetaera, finally, medical and magical advice is given [Vatsyayana 1996]. The style of the treatise is dry and laconic, the author often refers to the opinion of authorities and literally at every step resorts to classifications. Among the researchers, "Kamasutra" causes a different attitude. According to A.Ya. Syrkin, who owns the merit of her translation into Russian, "the content of the" Kamasutra "clearly echoes modern problems, and some of its observations are not only interesting but also topical. The view was already expressed that "Kama Sutra" is in any case much wiser, for example, many similar instructions published in England until the beginning of the 20th century. (cited in [Vatsyayana 1996: 40]). A.Ya.Shirkin especially appreciates the attention of the "Kamasutra" to the intimate feelings and experiences of a woman, which, he notes, distinguishes it in a positive way from similar treatises created within other civilizations [Ibid: 41]. Also, A. Basham points out that the author of the "Kamasutra" preaches not only satisfaction of man's passion, but exquisite pleasure for both sides, connected with intellectual communication and common cultural interests [Bash 1977: 185]. A positive evaluation of the "Kamasutra" is shared by the Russian researcher V.A. Efimenko [Efimenko 1996: 67]. However, there is another point of view presented by N. Bhattacharya, who subjected the author of the "Kamasutra" to a harsh and slightly naive criticism for pedantry, superficiality, scholasticism, blind adherence to dharmasastras with regard to normative aspects, and even for lack of practical knowledge of the topic [Bhattacharyya 1977 : xi] (apparently, a hint that file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

according to the legend Vatsyayan was an ascetic monk [Vatsyayana 1993: 17], and therefore he himself could not have real relations with women). In addition, it should not be forgotten that the "Kamasutra" was intended for the wealthy urban strata, which gave N. Bhattacharya as an adherent of Marxism an additional reason to attack this work. However, among modern Indians one can find a much more benevolent attitude to Vatsyayana's treatise. Thus, the Indian author Sandhya Mulchandani, representing liberal Hinduism, believes that the author of the "Kamasutra" was to show how it is possible to achieve fullness of pleasure in those conditions when marriages were arranged by older relatives, the marriage union for love was rare, and the social conditions left very little time for private life. She also notes the influence of "Kama Sutra" on art [Mulchandani 2006: 23]. Teaching at the University of Colorado Indian scholar SK. Gautam devoted his work to Foucault and the Kamasutra. The Courtesan, the Dandy, and the Birth of Ars Erotica as Theater in India »[Gautam 2016] study of the" Kamasutra "in comparison with the concept of the history of sexuality, created by the French philosopher and culturologist Michel Foucault (19261984). As you know, Foucault opposes ars erotica or the art of love, based on pleasure and inherent non-Western cultures, and the Western scientia sexualis, or the science of sexuality, based on truth and self. Foucault argues that ars erotica did not exist in the West, because pleasure could not find for itself a discursive and legislative (associated with the establishment of its own laws) autonomy and always lived in the shadow of other discourses such as philosophy, morality, religion, law and science [ Gautam 2016: 1-3]. As for India as the kingdom of ars erotica, it is the "Kamasutra" that has become a successful attempt to gain legislative autonomy for sexual pleasure from the discourse of the Brahmanic law (dharma). The latter is focused on the institution of the family and underlies the caste patriarchal society. In the discourse of dharma, the subordination of pleasure to the Brahminical law goes hand in hand with the submission of the woman to the man. Both these processes are so inextricably linked that they are two aspects of the same phenomenon. Therefore, the author of "Kamasutra" seeks to find out beyond the circle of identity a certain space where both woman and pleasure can gain autonomy. And here we come across the figure of the hetaera (courtesan, gaNikA). The laws of the caste and the patriarchal family are not applicable to the hetaera. Thus, being a sovereign figure, she occupies the same central position in the sphere of erotica that the king is in the sphere of politics. The researcher considers the place of the heather in the life of ancient Indian society. In the Kamasutra, there are, of course, other female figures, such as a wife (bhAryA), an unmarried girl (kanyA), a foreign wife (paradAra) and a woman who has again married (punarbhU). But these figures either do not embody the discourse of erotic pleasure (kAma) in its legislative autonomy from the discourse of dharma, or they do it only partially, and not completely, as a hetaera. But although she represents a sovereign figure in the field of erotica, she needs a male partner, and such partner in the Kamasutra is nAgaraka - a citizen of the city, a refined esthete and intellectual, whom Sanjay K. Gautam calls a dandy, comparing it with Baudelaire's dandy. In this case, the researcher identifies a special kind of dandy - viTa, a mentor or guru for a hetaera [Ibid .: 6-8]. file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Another line of research carried out by the author is the kinship of the Indian art of love and theater. It is not accidental that theatrical studies are used to refer to partners in the Kamasutra: nAyaka (actor, man) and nAyikA (actress, woman). According to Gautam, the use of the language of the theater is justified precisely in the context of the relationship between the courtesan - a sovereign figure in the field of erotica - and her partner-dandy. Both of these figures play a major role in the origin of the theater and act as a kind of bridge between two texts that are fundamentally important for traditional Indian culture - "Kama Sutra" and "Natyashastroy" (a theatrical treatise). The intellectual kinship between the two texts is reflected in the fact that "Natyasastra" defines rasa or aesthetic enjoyment as the highest goal theater, and, moreover, proclaims sexual pleasure (kAma) the ultimate goal of life, that even the author of the "Kamasutra" does not venture to do [Ibid .: 8-10]. And more recently American Indologist Wendy Doniger published the book "Redeeming the Kamasutra" [Doniger 2016]. According to her confession, the impetus for writing the work with this name was, first, the new study of the "Arthashastra" by Cautilia, and, secondly, the wave of puritanism that swept India in the last decade. Doniger was determined to show the Indians that "Kamasutra" should be the subject of their national pride, and not "national shame" [Ibid .: 11-12]. She calls Vatsyayana's work "a great masterpiece of culture" [Ibid .: 16], created at a time when "Europeans culturally swayed on the branches of trees" [Ibid .: 19]. The encyclopedic character of the text is noted, in the common consciousness associated exclusively with bizarre poses, which, according to Doniger, had no relation to the real life of Indians [Ibid .: 20, 32]. The world of the "Kamasutra" is the world of the well-to-do strata of the population, but, unlike N. Bhattacharya, Doniger does not betray the "Kama Sutra" anathema, noting in passing that Vatsyayana paid little attention to varenic and caste differences [Ibid .: 21-22 ]. Comparing "Kama Sutra" with "Arthashastroy" and "Manu Laws", the author notes the relatively more liberal attitude of Vatsjana's treatise to women's education and personal freedom than that which can be observed in the "Arthashastra", and much more liberal than at "Laws of Manu" [Ibid .: 97, 151] and even calls it "revolutionary document" [Ibid .: 152]. According to Doniger, "Kamasutra" and today can give many women [Ibid .: 96], although it notes the presence "Dark" sides [Ibid .: 68-69, 105]. Concerning the meaning of the treatise for Indian culture, the researcher notes her profound influence on the way of life of the court and nobility, court poetry and eroticism of the bhakti movement [Ibid .: 69-70, 152]. In addition, Doniger criticizes the translation of the "Kama Sutra", associated with the name of Sir Richard Burton. As it turns out, in fact this translation was performed by two Indian pandits, Bhagavanlal Indrajit and Shivaram Parasuram Bhide, who distorted or missed places where women are given more advantages. As a result, Burton's Kama Sutra is a "monument of English literature, but in no way a monument of Indian literature" [Ibid .: 154-159]. Finally, Doniger is attacked by modern conservative Hindus. In her opinion, in Hinduism there was always an ascetic element, and an erotic, 159-163]. As already mentioned, the word "Kamasutra" is well-known and even common, but outside of India, few know that in addition to Vatsyayana's masterpiece, many more have been created in file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Sanskrit in subsequent times (there are more than hundreds of them [Vatsyayana 1996: 16]) treatises on the art of love. By the number of the most famous belong "Rati Rahasya" ("The Secret of Love Passion") Kokkoki (12th century), Nagarasarvasva (Urban Encyclopedia) Padmasri (between the 10th and 14th centuries) "Pancha-Sayaka" ("Five arrows") Jyotirishvara (first half of the 14th century), "Ratimanjari" ("Garland of Love Passion") of Jayadeva (between the fourteenth and sixteenth centuries) "Rati-ratna-pradipika" ("Candle of the Treasure of Passion") by Devaraja (XV or XVII c.) And "Ananga- ranga" ("Theater of the Bodiless" ie Kama) of Kalyanamalla (XVI century). A detailed description of these works is contained in N. Bhattacharya's book "History of Indian Erotic Literature" [Bhattacharyya 1975: 102-122]. And this same researcher brings down to the kamashastry cruel criticism. In his opinion, all authors who followed the "Kama Sutra" erotological The treatises were blind imitators of Vatsyayana, alien to the spirit of scientific research and striving to poke the perverted tastes of their wealthy patrons. They filled their writings with descriptions of positia, which were only the fruit of their imagination, and gave fantastic recipes for aphrodisiacs without any knowledge of medicine. As a result of this "unscientific" approach, as N. Bhattacharya writes, in the field of erotology in India over a period of about 1500 years nothing new has been done [Bhattacharyya 1975: 102-105]. More lenient towards the late Kamashastra A.Ya. Syrkin. According to this Indologist, covering the same range of issues as "Kamasutra", these works are inferior to her in completeness of information, although they often contain interesting information that is absent in the Vatsyayana text (four types of women, erogenous zones of the female body and their connection with phases Moon, the influence of precious stones on the sexual behavior of man, the ways of acquiring a son). S. Mulchandani simply notes that these texts concentrated on the physical side of love [Mulchandani 2006: 24]. Note that in India itself, Rati Rahasya enjoys no less popularity than "Kama Sutra" [Vatsyayana 1996: 16-17], and "Ananga-ranga", written by the order of the Muslim ruler of Lad Khan, was translated into Persian and Arabic languages and became very popular in the Muslim world [Kama Samuha 2008: 36-37] . W. Doniger notes this as an example of Hindu-Muslim cultural synthesis [Doniger 2016: 154]. Therefore, it would be a mistake to believe after N. Bhattacharya that these works deserve no interest. At the same time, the assertion of A. Vigasin, who wrote that the late Kamashastras are influenced by the mysticism of Tantrism, is also incorrect [Hinduism 1996: 227]. In fact, kamashastras are purely secular texts, whose prescriptions do not set any mystical goals, unlike tantric sexual practices. In addition, we do not have any information that the authors of the Kamachastra belong to any schools of tantra. Akbar Shah, whose pen belongs to the erotological treatise "Shringara-manjari" ("Liana of Love") (XVIII century.) [Bhattacharyya 1975: 122], which once again points to the overconfessional character of the Indian court erotic culture. But nobody calls into question the connection of the Kamachastra with classical Sanskrit literature and, in particular, with poetry (in this essay we take prose and dramaturgy for brackets,

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

since they practically did not serve as sources for Kama Samukh). "The science of tender passion" had a great influence on Sanskrit poets, and it is impossible to understand their creativity without knowledge of "Kamasutra", "Rati-rahasya" and similar texts. Love takes first place here. Love lyrics in Sanskrit, as well as epic poems, are filled with such vivid and sensual images that to a person of European culture much here could seem too rude, frank and even obscene. However, even the Indian "critics" attacked the great Kalidas for what, in their opinion, went beyond the bounds of decency, describing the love games of Shiva and Parvati in "Kumarasambhava." However, their objections concerned not the very possibility of frankly writing about the joys of the flesh, but the fact that the poet ascribes such things to the divine couple. Later Sanskrit authors (Bharavi, Magha and their followers), as well as the masters of the pen, who wrote in the New Indian languages, this frankness reaches even greater extent [Basham 1977: 185-186; Bhattacharyya 1975: 52-53; Doniger 2016: 164]. Everywhere we meet a detailed description of the beautiful female body. The ideal "goddess of love" should be slim, but at the same time have magnificent shapes. The color of her skin resembles pure gold (although Kalidasa preferred a swarthy color). She has long, thick and blue-black hair, decorated with bright colors (some at the same time singing curls that adorn the forehead). Eyes are often compared to eyes of a gazelle or wagtails, and eyebrows are represented in the image of an onion. The lips are bright red, like the beams of a bimba. The nose, ears and cheeks are usually not given much attention, but the teeth resembling the fruit of a pomegranate are sung. The subject of the greatest admiration is full rounded breasts, which are then compared with a pair of golden vessels, then with mountains, then with sweet fruits, then with the hillocks on the head of an elephant. No less appreciated hips, heavy and round, like the bent trunk of an elephant, and smooth, like the stem of a banana tree, as well as a round and deep navel, like a whirlpool that absorbs men's gaze (or hearts). As for the palms and the feet, they should be of a small size [Ingalls 1965: 164; Shastri 2010: 127-128]. It is interesting to note that, in contrast to a woman, the appearance of a man is described very rarely, and the "lover-hero" turns out to be something of a disembodied spirit next to its luxurious beloved. As in the case of Kamashastra, it may be tempting to link love poetry with tantrism. However, the exquisite hymns to female beauty are not directly related to the deification of women in tantra, rather, it is simply a manifestation of a certain analogy of courtesy inherent in refined culture. Coryphaeus of erotic lyrics could be courtiers, but again, we do not know anything about their tantric initiations. Note also that with respect to shaktism and tantra, Western scholars (D. Coburn, T. Pinchman, and others) express (sometimes with great regret) the remark that the chanting and even the deification of the feminine in Shaktist and Tantric texts is in no way connected with the real place women in a society that modern people may seem "belittled", and even less has nothing to do with feminism [Coburn 1991: 172; Pintchman 1994: 195-197]. The same is true of the courtly Sanskrit poetry. Sanskrit poets preferred short poems in one stanza. If the verse is dedicated to love, then there is usually an emotion or situation being played out (for example, a wife with tears escorts file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

her husband on the road or arranges a jealousy scene, suspecting a loved one of treason.) Sometimes poems-dialogues are encountered. The most outstanding masters of this short genre are two: Amaru and Bhartrihari. Creativity Amaru is filled with fervid sensuality, and the images of a young naive girl and timid young wife are most successful. The Bhartrihari strophes are not so vivid and expressive, according to A. Basham 's remark, they feel unsullied dissatisfaction [Bashem 1977: 451], but the sincerity of the displayed feelings gives them a special charm. The language of Sanskrit poetry is extremely refined, poets have always sought to avoid vulgarity (Ingalls 1965: 198). The artistic expressiveness and beauty of the poetic speech is given by the Alankars (alaMkAra, lit. "decoration") - various stylistic turns (for more details on the Alankaras see Grinzer 1987: 56-140). Separate poems by Amaru, Bharthrihari and some other authors are combined into collections, called shataks ("stasstices"). It is in this way that there are "Amaru Shataka" and three shataks Bhartrihari: "Threads-shataka" ("One hundred verses about worldly wisdom"), "Shringara Shataka" ("One Hundred Strophes of Love") and "Vairagya-shataka" ("One Hundred Strokes of Abandonment") [Bhartrichari 1979; Indian lyrics 1978: 126-149; Classical poetry 1977: 60-77]. Along with this, great anthologies were created, including the poems of many different poets. According to Yu.M. Alikhanova, an anthology (kosha), perhaps, is a genre whose origins go back centuries. The first mention of it refers to the Gupta era. In the treatise on the poetics of Bhamaha, presumably dated to the 5th century, the anthology does not appear in the list of poetic genres, although it is usually mentioned in subsequent theorists, beginning with Dandin (VII-VIII cc.) [Indian lyrics 1978: 35]. The oldest surviving anthology is "Subhashitaratna-kosha" ("Treasury of Good Speeches"), compiled by Buddhist monk Vidyakara in the second half of the 11th century, but reflecting poetry mostly VIII-IX centuries. This anthology includes 1738 verses, grouped by subject in 50 sections ("vraja") [Ingalls 1965; Ingalls 2000]. Solitary poems, along with "poems about the messenger" (for example, "Megha-duta" ("Cloud-Herald") is a genre of poetry of small forms or "Partial" poetry (khaNDa-kavya) [Ingalls 1965: 39-46; Ingalls 2000: 37-40]. Created Sanskrit poets and works of major forms belonging to the genre of "great poem» (mahAkavya). [Ingalls 1965: 39-46; Ingalls 2000: 37-40]. However, a separate stanza, even if it was part of a large work, continued to be regarded as an independent unit [Grinzer 2008: 527]. "The Great Poem" is a major poetic work on an epic or mythological plot; sometimes even similar works are called "an artificial epic" or "Court epic", because they were created in a court environment and were intended for reading, not for listening, as folklore [Rusanov 2002]. Among the works of this genre, Kalidasa poems are usually singled out "Kumara Sambhava" ("The Birth of Kumara") [Classical Poetry 1977: 25-53] and "Raghuvamsha" ("Rad Raghu") [Kalidasa 1996], and later created by Jayadeva's poem "Gita Govinda" ( XII century) [Jayadeva 1995]. As for other well-known poems, such as "Shishupala-vadha" Maghi (VII century), their European researchers were often criticized for the pretentiousness and

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

incoherence of the narrative. Was in the course of even so-called. "The theory of degradation," according to which the genre initially flourishing in the Kalidasy era gradually turned into "pathetic verbal trinkets." The reason for the emergence of such a theory was that Europeans for a long time evaluated Sanskrit literature in accordance with their tastes and preferences, being unable to overcome their cultural stereotypes (Basham 1977: 446-450; Rusanov 2002: 10-11]. Information on all poetic works that served as sources for "Kama Samukh", as well as about their authors, can be found in the appendix "Sources" Kama-samuhi. "" In our era, hardly anyone will call Sanskrit love poetry "immoral", which it was considered by the British the century before last. However metaphors found in it and to the modern reader can seem strange and unusual. Such, for example, comparison of the gait of a beautiful woman with a gait of an elephant, then with a gait walk. The first for us is clearly negative shade ("stomping like an elephant"), and the second and does sound ridiculous. Or what does the eyes have in common with wagtails, but in the ringing of bracelets with goose ghosting? How can you compare the members of a female body with a lake, then with a chariot, then with an army? However, with a deeper acquaintance with Sanskrit poetry everything becomes in her masterpieces familiar and native. Having made a brief review of the development of the concept of "kama" and its representation in scientific and poetic creativity, we now turn directly to "Kama-samuhe". Until recently, almost nothing was known about this work. The merit of his introduction into scientific circulation belongs to Dr. Amal Shiv Pathaku from the University of Lucknow (the University of Lucknow). He published the text of the monument in 2008, providing it with his translation into English (though not different in accuracy and beauty of the syllable) [Kama Samuha 2008]. According to the information reported by A.Sh. Patkhak, we have heard a lot of manuscripts stored in libraries throughout India [Ibid .: 44], which indicates that in due time this work was very popular. For publication, the scientist chose the BORI manuscript. 15 / 1869- 70C 283 / 1884-86 as the most complete (it contains 799 verses). In addition, the supplement contains additional verses from other manuscripts. [Ibid .: 232238]. All our information about the author, place and time of creation of "Kama Samukhi" is based on the text of the monument itself. This information is contained either in the initial verses, or in verses that complete the individual sections. From them we learn that the author is Ananta, a brahmana from the genus Bhamalla (bhAmalla), a doctor by profession (6, 27, 78, etc.). The author's professional affiliation is indicated by his acquaintance with Ayurveda and the use of Ayurvedic terms slipping in some verses (34, 43, 54, 58, 66, 276, 277, 279, 280). Ananta lived in the city of Ahmedabad, built by the Muslim ruler of Gujarat Ahmad Shah (in "Kama Samukh" Achimmed (677)) in 1410-1441. The exact dates of birth and death of the author of the work are not known to us, but thanks to the above information, we can assume that his time of life is in the XV century. In a number of poems Ananta writes about himself as an elderly (vR ^ iddha) (340, 620, 677). In the opinion of A.Sh. Pathak, this fact, as well as the fact that the last section of Kama-samuhi is dedicated to the abstention from the world (vairAgya) that the composition of

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

the work belongs to the late period of the author's life. Sam A.Sh. Pathak as the date of writing indicates 1457 [Kama Samuha 2008: 38]. In the text of the monument are also mentioned the father and grandfather of the author. Ananta's father was called Mandana (maNDana), and he was a courtier and an elephant physician (6, 78, 480). As for the grandfather, only his name is known - Narayana (nArAyaNa) (69). The genre to which "Kama-samuha" belongs is difficult to define. Actually in the text it is called mahakavya, i.e. "A great poem," but at first glance it can not be attributed to this genre, since the "great poem", as we remember, is still a plot work, and in "Kama-samuhe" the plot is absent, except for a certain rudiment of it verses 70-78. However, the "disappearance" of the plot is characteristic of late mahakavya, and according to the researcher AK. Warder, "Sisupalavada", for example, it is rather an anthology than an epic [Rusanov 2002: 14]. In addition more is true of "Kama-Samukh". A.K. Pathak asserts,that its text is half composed of material borrowed from other authors, and at that time borrowing was not considered something reprehensible [Grinzer 1087: 47-55]. However, the simplest analysis allows us to say that the vast majority of the content of Kama-samuhi is borrowed. Ananta himself admits that he included in his work the poems of "good poets" (5, 601, 626). In general, the borrowed material includes both single stanzas, as well as quotations from poetic works of large form and Kamachastr. In this case, the source, unlike other anthologies, is never indicated. Such a variety of sources turns "Kama-samuha" into something between the poetic anthology and the collection of instructions on the art of love. That is the number of verses, zaistvovannyh author of "Kama-Samukh" from those or other works: "Amaru Shataka" - 19, "Vaigarya-shataka" - 12, "Veni-Samhara" - 1, "Kumara-sambhava" - 3, "Kuttani-mata" (commentary) - 7, "Megha-duta" - 1, "Nagananda" - 2, "Nagara-sarvasva" - 2, "Nagara-sarvasva" (commentary) - 7, "Panchatantra" - 1, "Raghu-vamsha" - 2, "Rasika-priya" (commentary on the "Gita-govindu") - 2, "Rati-rahasya" - 3, "Rati-rahasya" (Kanchinathi's comment) - 1, "Sahiti-Darpana" (commentary) - 2, "Smara-dipika" - 16, "Chaura-panchasika" - 4, "Chaura-panchasika" (commentary) -1, "Shringara-tilaka" Kalidasy - 6, "Shringara-tilaka" Rudraty - 6, Shringar Shataka is 23. file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

As we see, Ananta most of all borrows from such recognized coryphaeus of Sanskrit literature as Bhartrihari and Amaru, less often - from Kalidasa. Quotations from the plot works of large forms are rare, there are single poems from "Megha-duta", "Kumara-sambhava" "Shishupala-vadhi", "Veni-samhary", "Nagananda" and "Chaura-panchashiki". As for the Kamashastra, the greatest number of borrowings are accounted for by "Smara-dipika" (and in one place they go block), there are also quotes from "Nagara-sarvasva", "Rati-rahasya" and comments on these texts. Strange way Ananta in terms of quoting completely ignores "Kama Sutra", although in one of the poems it is mentioned (336)). The set of meters used in the lyrics includes both short dimensions (sloka, upadjati and 11complex ones close to it), and mostly long ones, the most popular of which are vantantalika (14 syllables), shikharini (17 syllables with a caesura after 6- th) and shardulavikridita (19 syllables with a caesura after the 12th syllable). Now about the structure and content of Kama-samuhi. The work consists of sections, which are sometimes divided into subsections (designations "Section" and "subsection" are conditional, since they are not used in the monument itself). The first seven verses constitute an introduction containing traditional references to the god Ganesha and the goddess Saraswati, and brief information about the author and his kind. Then comes the first section devoted to the seasons (9-69) and consists of six subsections, by subsection for each season (in India there are six: vasanta, summer (grIShma), monsoon season (prAvR ^ it) , autumn (sharad), winter (hemanta) and cool season (shishira)). The largest of these subsections is dedicated, which was to be expected, in the spring (21 poems), and the shortest - in the fall (4 poems). In general, this section continues the tradition of seasonal lyrics that arose during the Gupt empire (IV-V centuries). The section devoted to the seasons was available in a considerable number of anthologies, with particular attention paid to the chanting of spring (vasantavarNana). It was during the Gupt era that the special genre of the poem took shape, where the picture of seasonal changes in nature gives a parallel picture of seasonal changes in people's lives and entertainments. Only one such poem, "Ritu-Samkhara" ("The Seasons"), attributed to Kalidas, reached us, but, according to Yu.M. Alikhanova, there is every reason to believe that at that time this genre was very popular [Grinzer 2008: 514, 518, 528; Indian lyrics 1978: 43]. At the same time, the theme of seasonal entertainment is not alien to the epic poem. It can be found in Kalidasa's poem "Raghu-vamsha" (Rod Raghu), which describes the loving pleasures of the voluptuous king Agnivarna, diversified from season to season (19.37-47) [Kalidasa 1996: 309311], as well as in "Kiratharjunia "(10.31-35) Bharavi (VI century) and the already mentioned" Shishupala-vadhe "(6.1-21) Maghi [Ingalls 1965: Only one such poem, "Ritu-Samkhara" ("The Seasons"), attributed to Kalidas, reached us, but, according to Yu.M. Alikhanova, there is every reason to believe that at that time this genre was very popular [Grinzer 2008: 514, 518, 528; Indian lyrics 1978: 43]. At the same time, the theme of seasonal entertainment is not alien to the epic poem. It can be found in Kalidasa's poem "Raghu-vamsha" (Rod Raghu), which describes the loving pleasures of the voluptuous king Agnivarna, diversified from season to season (19.3747) [Kalidasa 1996: 309-311], as well as in "Kiratharjunia "(10.31-35) Bharavi (VI century) and the already mentioned" Shishupala-vadhe "(6.1-21) Maghi [Ingalls 1965: Only one such poem,

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

"Ritu-Samkhara" ("The Seasons"), attributed to Kalidas, reached us, but, according to Yu.M. Alikhanova, there is every reason to believe that at that time this genre was very popular [Grinzer 2008: 514, 518, 528; Indian lyrics 1978: 43]. At the same time, the theme of seasonal entertainment is not alien to the epic poem. It can be found in Kalidasa's poem "Raghu-vamsha" (Rod Raghu), which describes the loving pleasures of the voluptuous king Agnivarna, diversified from season to season (19.37-47) [Kalidasa 1996: 309-311], as well as in "Kiratharjunia "(10.3135) Bharavi (VI century) and the already mentioned" Shishupala-vadhe "(6.1-21) Maghi [Ingalls 1965: that at that time this genre was very popular [Grinzer 2008: 514, 518, 528; Indian lyrics 1978: 43]. At the same time, the theme of seasonal entertainment is not alien to the epic poem. It can be found in Kalidasa's poem "Raghu-vamsha" (Rod Raghu), which describes the loving pleasures of the voluptuous king Agnivarna, diversified from season to season (19.37-47) [Kalidasa 1996: 309-311], as well as in "Kiratharjunia "(10.31-35) Bharavi (VI century) and the already mentioned" Shishupala-vadhe "(6.1-21) Maghi [Ingalls 1965: that at that time this genre was very popular [Grinzer 2008: 514, 518, 528; Indian lyrics 1978: 43]. At the same time, the theme of seasonal entertainment is not alien to the epic poem. It can be found in Kalidasa's poem "Raghu-vamsha" (Rod Raghu), which describes the loving pleasures of the voluptuous king Agnivarna, diversified from season to season (19.37-47) [Kalidasa 1996: 309-311], as well as in "Kiratharjunia "(10.31-35) Bharavi (VI century) and the already mentioned" Shishupala-vadhe " (6.1-21) Maghi [Ingalls 1965: 110]. Then follows the second section, dedicated to chanting the beauty of the female body (70319). This section corresponds to the specific genre of nakhshikh (nakhshikh, from the nails of the feet to the top of the head) popular at that time, when the appearance of the heroine was praised from head to foot. This section consists of subsections devoted to individual members of the body of the beauty, and the most intimate details of her appearance are outlined in detail. The most voluminous of these subsections is dedicated to the chest (81 poem). Reading these poems, it remains only to agree with E.Yu. Vanina, who remarked: "The poets competed in lush and elegant comparisons, painting the parting of the beauty or the folds on her belly, but if you look through all these descriptions in various works of medieval Indian literature, from ancient times to modern times, you can get the impression that poets who lived in different epochs and wrote in different languages sang at various names the same woman "(quoted in [Vanina 2007: 266]). Description of the appearance of an ideal beauty is replaced by a small section devoted to the behavior of the newlywed (nava-surata) (323-340). It corresponds to such a popularity in the kamasastra as "treatment of girls" (kanyA-prayuktaka). The third section is devoted to this topic in the Kama Sutra [Vatsyayana 1993: 82-93]. In the poems on this topic, included in the "Kama-samuhu", as everywhere in Indian literature, the bride is described as a timid and shy girl who, however, on the bed of love gradually becomes more and more passionate and uninhibited, delivering her husband with something incomparable pleasure. A lot of admiring the young wife on the marriage bed, Ananta turns to another topic, no less beloved by Indian authors, related to the departure of her husband to a foreign land, the suffering of separation (first of all, the wife, although sometimes her husband), and the love file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

temptations that lurk travelers. The popularity of this topic is due to the fact that not only merchants, but also peasants, traveled often in India, during the period of comparative calm leaving their villages for foreign lands, in order, apparently, to work for hire. The theme of travel and separation is devoted to eight sections (341-542), total 201 poems, that is a quarter of the total volume of the monument. Let's name these sections: 1) the beloved goes on a journey (vallabha-prayANAvasthȺ) (341-360); 2) a description of the traveler (pathika-varNanaM) (361-369); 3) the traveler says (pathika uvAcha) or a woman in love and a traveler (sakAmA-pathikavarNanaM) (370-392); 4) description of amazing women (vichitra-strI-varNanaM) (393-432); 5) description of the wife (priyA-varNanaM) (433-451); 6) the separated woman through the messenger sends a letter (viyoginI dUtasya haste lekha-patraM preShayati) (452-480); 7) lamentation of a woman who is separated (viyoginI-pralApaN) (481-520); 8) the return of the husband (priyAgamanaM) (521-534); 9) questions of the traveler (pathika-prashnaM) (535-542). It should be noted that the fourth of these sections does not quite correspond to its title and it would be correct to call it "miscellaneous". Also, we add that the entire block of sections devoted to separation belongs wholly to poetry (kAvya), since in kamashastra this topic is not considered. Behind the lyric poems about the bitterness of separation and the joy of a new meeting follows the most intriguing, perhaps, block of sections devoted to the art of love (543-662). This block includes not only poetry, but also manuals of "technical" nature, corresponding to the second section "Kama Sutra", called "On the Love Connection" (sAmprayogikAdhikaraNa) [Vatsyayana 1993: 61-81]. This block contains the following sections: 1) beginning of copulation (suratArambhaN) (543-581). This section includes mainly a description of sexual poses, borrowed from the "Smara-dipika"; 2) the middle of coition (surata-madhya-varNanaM) (582-585). Contains lyric poems. 3) reverse copulation (viparIta-surata-varNanaM) (586-594), that is, when a woman is on a man. Contains both the lyrics and the "technical" recommendations from the "Smara-dipika"; 4) the end of coition (suratAvasAnaM) (595-601); 5) the words of the man addressed to the beloved during the quarrel at the end of coition (suratAntakalahe strI-priya-vAkyaM) (602-620); 6) the words of a woman addressed to a friend at the end of loving pleasures (suratakrIDAntaraM sakhIM prati kAminI-vAkyam) (621-626); 7) the woman returns from her husband's home, and questions and answers in her conversation with the traveler (bhartuH sakAshAt kAminI gR ^ ihaM prati gachChati tatra tasyaiva pathikasya prashnottaram) (627-635); 8) "the abode of Kama" (kAma-sthAnAni) (636-662). This section is devoted to what is nowadays called the erogenous zones of the female body. AT "Kamasutra" does not pay attention to this topic, but it is considered in other kamashastras, file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

beginning with Rati-rahasya of Kokkoka [Kama Samuha 2008: 33], see, for example, "Anangaranka" (II) [Sacred Sexuality 2013 : 5]. And the section on "The abodes of Kama" just contains two verses from "Rati-rahasya" (660, 661). According to Kokkoka, referring to the school of Nandikeshwara, the center of erotic tension in the female body on the full moon day is on the big toe of the right foot, and then "migrates" through various places on the right side of the body to the head, being in each of the places on a certain lunar day (rati -tithi). Then, on the new moon, this center begins to gradually descend from the head on the left side, reaching the thumb of the left leg. Therefore, a man should pay attention to certain places on the body of the beloved, depending on the decrease and growth of the moon [Bhattacharyya 1975: 107]. Following this comes the block of sections (663-751), corresponding to the fifth section of the "Kamasutra" "Regarding married women" (bhAryAdhikaraNa). He opens the section "On the ways of enjoying a woman" (strI-sevA-prakAra) (663-677), which gives a classification of women by age and provides advice on how to treat a woman of one age or another. This section includes quotes from the Nagara-sarvasva (663, 664, 669, 672, 673, 676), Rati-Rahasya (665) and Kanchinathi's comments on Rati-rahasya (668). Then follow the sections on the description of a woman in love (sakAmAlakShaNaM) (678-691), the indifferent woman (viraktA-lakShaNaM) (692- 704), the faithful wife (pati-vratA-lakShaNaM) (705-734) and the slag (asatIlakShaNaM) (735-751). All these sections are purely lyrical. The "Kama-samuha" section is completed with the section "About the Abdication from the World" (vairAgya) (752-799), containing many verses from the "Vairagya-shataka" Bhartrihari. As A.Sh. Pathak, the inclusion of this section in a collection dedicated to eroticism is unique [Kama Samuha 2008: 43]. However, Ananta does not pay attention to such topics that are popular for Kamachastra, such as treatment of other women's wives (in the Kamasutra pAradArikAdhikaraNa) and the use of artificial means (in the Kama Sutra - "secret instruction" (aupaniShadikAdhikaraNa). This translation of the DM was made from the original: Kama Samuha of Sri Anant Kavi. Text with English Translation, Critical Introduction and Appendices by Amal Shib Pathak. ND: Chaukhambha Publications, 2008. The division into sections is made according to the original. Verses with obscure content or lacking any aesthetic value were missed, and a translation of verses 752-799 was not included. The translation is provided with the necessary commentary and four dictionaries for its understanding: 1) names, 2) objects and terms, 3) toponyms and ethnonyms, 4) flora and fauna. This publication also contains the appendix "Sources" KamaSamuhi "" and "Famous Anthologies of Sanskrit Poetry." KAMA-SAMUHA Transfer Shri Ganesha worship! In the middle of the world Shines with the gods

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

And Indrami is honored among the danavas Who carries all fears of the Lord of obstacles, To whom the hosts of people and serpents serve, He triumphs, enemies destroy his enemies, Dull all creatures from dullness. (1) By the grace of Saraswati, people write poems, Therefore, it is unshakable to worship this goddess. (2) By the mercy of Bharati the wise, Having found among the poets the tsar's position, the Good themselves serve, Yes, she spills on us bloom! (3) O Lambodar, who does not honor your feet, The fate of Gautama, Durvasas and Viswamitra awaits. (4) Having fallen first to the feet of Maheswara's son and the daughter of the Creator, I composed "Kama-samuha", including poems of good poets. (5) The son of the counselor of Mandana from the family of Bhamalla, I, Ananta, this great poem composed. (6) This book, benefiting people, Let it be known by the mercy of Saraswati and the guru. (7) Now the description of the seasons, and the first will be spring. This is the effect of spring, That the days are gradually increasing, And the nights are shrinking, Like a young wife In fear of intimacy with her husband. (8) Fragrant breezes make you bend the sandalwood thickets, Raise pollen from lotus buds, kiss mango groves, Shiver in the trembling profuse aroma of champaki, Spread the spray from the dung wheels, Standing near on the edge of the gardens, and drain the sweat. (9) The southern wind blows, scattering pearls, Left by the wives of kites on the banks of Kaveri, Slightly raising the edges of clothes on the full chest of women Karnaty, Playfully trivial ringlets on the heads of women Lats And - about the mountain! - the wives' wives inclined to sin. (10) "If, in the beginning of spring, the Beloved is left file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

with a long life to part with life, Who in her death is to blame, Her youth, or love, or the Flower-headed God, "So thinking, he heard The sound of the cuckoo's cuckoo: "tu hee." (eleven) Fresh foliage in the trees In all the forests sparkles, Like a forest fire. This spring scorches the earth in rage, Cool time chasing away. (12) Under the cuckoo cuckoo Covered with flowers kinshuki And buds swelled on the mango, In the yard, spring time, And Krishna did not come, my friend, What is the fate that awaits me? (13) When the spring came, What will be the fate of wives, Stay with loved ones in separation, Let them in the shower with the gestures of the Vain Kama and admonish. (14) Voluptuous tree, craving for offspring, With its shoots, the mountain immediately covered. Seasons come down to earth, Do not repent of righteous people. (15)

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

The palm groves in bloom, The pollen of the lotuses is carried by the wind, Delicate lianas exude a fragrance, The abducting mind. (16) That spring time appeared, like Hanuman, Wind kissing

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

the stamens of flowers, The lord of the clear moon disc, To whom the beauties cast their glances, the Tomish are desired in separation. (17) Rejoicing all the creatures, Inspiring the lotus of blossom happiness, Delicate greens spreading everywhere the Bodiless holiday By their own accord embracing Vrajian beauties, The fragrance of love, a friend, like an embodied man, In the spring charmed, plays. (18) In this springtime The wind filled with the fragrance of flowers And buds of mangoes, like a flower onions, Carry sweat from the breasts of a beauty After enjoying with your loved one Like a right thief. (19) Kissing face-lotus women of fine-hearted, Rejoicing with buds of mango cuckoos and parrots, The King of Spring is exulting, Like the Bodiless, the body is found. (20) In red robes, with a light body, With flowers of a broadsword in his hair He wants to see the mango buds in the beak of the cuckoo - Therefore, the protector of the mango is called Vasanta. (21) In the spring, fearing the cold of the return, the Cuckoo is cuckooing in the forest, And lotuses blossom on the smooth surface of water, As if wanting to hear it. (22) Cuckoo and other birds make sweet sounds, And even the trees seem to be intoxicated with passion by the will of Kama. (24) Mango, kinshuki, ashoka and naga have flowered, Blooming in the forest, jasmine, exuding a divine smell, Together with the cuckoo's cuckoo creates an intoxicating passion. Blessed spring is worthy of veneration of the Highest husband. (25) The Tsar of spring growls and walks, Friend of the Owner of five arrows, The only reason of the world, It's a miracle, oh girlfriend. (26) file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Contemplating the blessed Sharada, Who can accomplish all the difficult things, Living in the lips of poets, Bending in front of the tutor's feet, Full of bliss, Ananta skaz about the spring creates. (27) Such is the description of spring in the great poem "Kama-samuha". Now the description of the summer. At the end of summer the wind blew, Kindle, even though weak, Fire in the hearts of women, Whose husbands having set out on their journey, Bringing down lovers' fatigue, Caused by a feverish passion, Spreading the fragrance of mature apples And large bloomed kadamba flowers. (28) A light house from which heat is expelled by the spray of cool water from a fountain, Where sandalwood and aloe are smoked, A month in the sky, a bed decorated with flowers, Lying on which, camphor and musk breathe, And ardent lover without Kanchuk This is the abode of bliss in the summer. (29) Seven things in the summer give happiness: a bed, red sandalwood, palm wine, Tilak, a month in the sky, A grove of palm trees and a turbulent stream. (thirty) Clothes in which you can not feel the heat, cool the wind, Lotus, the cold-radiant Moon, cold water, The screeching lake and the river banks - That's what makes us happy in the summer. (32) Mirage before the eyes, Animals that go mad with heat, Hot waters, long days, The whole world is like a forest fire. (33) Dry south-west wind grass burns, This is the sign of summer, causing an increase in bile and blood pressure. (34) "To our enemies, to the natural winds, Sandalwood thickets give shelter," file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

With such a thought, the wind from the bellows Sandal on the bodies withers. (35) This is the description of the summer. Now it's raining time. "Compressing the night, taking water from the rivers, Burning the forest thickets, having dried up the whole earth, Where did the sun get lost? "- With such a thought in search In all directions the clouds go, lighting the world with lightning. (36) Moloditsa, horse, young years, the rising Sun, Hot drink, Shruti and music These seven give pleasure in the rainy season. (38) O traveler, parted from life is your beloved In the rainy season, if you do not return home, When the peacock coots and the clouds rumble, And jasmine blooms in abundance. (39) Yellow clothes, milk, leaf, house full of voices, Ancient tales and beloved with eyes, like a lotus - These seven in the rain bring pleasure. (40) Intoxicating beverage buds kadamba, Forests, where trees rub against each other under the winds, Fields covered with water, full beloved breasts and peacock screams - These are the reasons for joy in rainy time. (41) Earth, turned into a bed of emerald grass, Rivers full of water, Everything breathes with youth, And the roaring clouds closed ten sides of the world. (42)

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

27th

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

"Why go, if there is no more beloved, And if it is alive, it is not worth it to go either, " With this thought, the traveler looks at the accumulation of clouds of young And does not return home. (44) And even those in whom the carelessness of childhood is not absorbed by youth, Smara's friend , They are worried at the sight of dark clouds over the forest. (45) "Even though I'm young, I'm afraid with the arrival of the darkness of lightning and thunder, "So thinking, The night hides in the cave of Govardhana, Waiting for the sun to rise. (46) A young woman in smart clothes, With full and high chest, burning desire, And the fragrance of the blossoming flowers of jasmine Who will not please in the rainy season? (47) With the arrival of the rains at the sight of the Blue sky, like a flower of the Atasi, Even those who live in separation, Do not feel fear. (48) After hearing the menacing thunder of clouds at the beginning of the night, A young wife, leaving shame, embraces her beloved with fear. (49) Slowly calm the anger of his beloved, In a quarrel turned away from him on the couch, He expected that, frightened by the thunder, She will turn and fall into his arms. (50) With a bow and arrows, in magnificent clothes dressed, And with feathers of a peacock in hair He, the blessed lord of the clouds, the pride of the rainy season, Zabavam is betrayed in mountain caves. (51) This is the description of the rainy season. Now the description of autumn. Gently touching the full-breasted beauties guarding the rice field, Smashing the fragrance of the blossoming saptaparna flowers, Spraying the water from the wells and from the fields, forcing the lotuses to swing And

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

torturing the wives of the travelers, blowing, bringing joy, the autumn winds. (52) Beautiful lotuses in the lakes with clear water, And the earth shines with a view of the green of the submerged rice fields. (53) Suffering from bile and blood pressure, With a pounding heart People are tormented by a fever In the autumn time. (54) Carrying a garland of fragrant jasmine flowers, Around which the bees swarm, Wetting his body with fragrant oil and sandalwood paste, Emitting moonlight, swinging on the swings In the autumn time, an ardent woman, having fun in the expectation of a loved one. (55) This is the description of the autumn. Now the description of winter. In the winter, full of milk, yogurt and butter, Dressed in rye clothes, With bodies, smeared with saffron from Kashmir, Tired with marvelous love pleasures, With nuts and betel leaves in their mouths, the Blessed are quietly at home, Embracing women with rounded breasts and hips. (56) Heated water, warm sesame oil, Bethel leaves, youth and youth, The heat of the sun and the milk that they boiled, Disperse fear of people before the cold and peace grant. (57) In the strong embrace of the cold, the Sun weakly warms, The sides of the world are gloomy in the winter, and sputum and wind prevail in the body. (58) Thanks to bedspreads, charcoal And the warmth of the female breast in the windless houses Rich defeated cold Revenues on the poor. (59) Clothes, painted with madder, bread and butter And beloved with a luxurious body These three from the cold will save in the winter. (60)

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

With a body moistened with musk, saffron and aloe, Stunned with fun with your beloved The lucky man slept on long winter nights, Chasing away the cold with a touch to the full breast of the young. (61) Vegetable oil, heat, betel leaves, Red pills and clothes, Heated water and youth These seven winters bring joy. (62) One who does not enjoy Love in the winter with a beautiful woman, Playful, laughing, gay, Truly, is deprived of Fate. (63) In vain he was born, In vain are his knowledge, dignity and youth, If winter nights pass Without embraces gazoleokoy. (64) O winter, I will remember when you pass, two good things: Water, without effort became cold, and a night of enjoyment with your beloved. (66) This is the description of winter. Now a description of the cool season. And day and night it's cloudy, Trees stand without foliage, Wind and sputum prevail in the body, So the cool season has come. (66) At the end of winter, a playful wind of passion stirs up creatures, Forcing the budding buds of mango trees And bringing the fragrance of mango from the Malay Mountains, This is the cool season. (67) Glad Master of five arrows As if in fear of winter It resorts to the warmth of the women resembling the inaccessible mountains of the Grudes with beautiful eyebrows, inviting young men. (68) This is the description of the seasons. Adviser Mandana, the son of Narayana - the joy of gathering scientists, His son will now lead a speech about love passion. (69) Now the explanation of the love passion, tormenting women is explained. Here is the description of the girl. file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Some kind of chaste woman, Torn with the arrows of Kama and thirsting for offspring, At night, not unknowingly connecting with her husband, Has found the daughter similar to the divine maiden. (70) Day after day, she grew up Like an ascending moon crescent And got beautiful features, Like other parts of the moon, full of radiance. (71) Was it not Lakshmi herself who appeared, Leaving her Monsieur Murari's breast, In anger at her husband, or the goddess Bhavani on earth descended? Why, O Creator, you have not given me a thousand eyes, To admire this maiden With moving eyelashes and eyes, like a blue lotus? (72) In childhood on the banks of Mandakini, I play in sand altars, balls and dolls Among her friends she was always amused, As if she found pleasure in it. (73) Her slender body, even without ornaments More wine was drunk, Having become another weapon of the Kama in addition to the flower arrows, And so, at the time of her youth, she followed her childhood. (74) The face of the splendor of the moon concludes, the eyes are the lotus beauty contenders, the Locks are like the wavy streams of Kalindi. With the exception of her youth, what else is there to praise the source of the virtues of the good? Being a flower-flecked banner, her youth triumphs over the victory, the minds of the youth darken. (75) The moon scolds, does not rejoice in the box, the petals strewn with lotuses, Camphor throws, does not want to go to the house of pleasures, where cold water flows, And only the woman from Saurashtra sighs wearily and thinks that the young man who threw her into this estate is undoubtedly a friend of Smara. (76) Beautiful eyes, returning to life with my own eyes Burned Kama, over Mahesvara triumphant victory. (77) Ananta, the son of Mandana, beautiful, as Manmatha, versed in all sciences, Desire executor,

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

describes the state of childhood. (78) So in the great poem "Kama-samuha", composed by Ananta, the son the court doctor of Mandana, ends the second chapter, called "Description of the child's condition." Now begins the description of the young girl from hair to fingernails. Now the description of hair. These long hair, decorated with champaka and other flowers, Shine like a bracelet of cancan or rainbow against the background of newly emerged clouds. (79) After washing from three strands of braided braids Shine with your bracelet cancan, Just like the morpheme of snakes, Exactly the light of the Mandala-lord. (80) Beautiful, like a white lotus, And the maiden's beautifully harnessed hair Reminiscent of Manmata's quiver, Full arrows, whose tips are in the blood. (81) In flowing to the chest and perfumed with the Scorched girlish hair adorned with jasmine, Kama, in the spring exhausted, Gets strength again. (82) And even if there is shame in their heart, That, no doubt, seeing the hair loops of those young girls, Leave care for the offspring of the deer. (83)

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Woman bent fingers-shoots into her hair launches, With a thought to lift them and plunge into a knot, looking with a distracted gaze, And when she lifts her hands up, her Chinese silk falls off her breast And she, clutching her breasts with embarrassment, binds her tangled hair. (84) The spit of gazelleokoy shone, Resting on the elastic, full and rounded breasts, Like a huge snake, file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Stereguschey golden vessels with amrita. (85) Shamed by the magnificent thick braid of this maiden From shame peacocks and deer left the forest. (87) Such is the description of the hair in the great poem "Kama-samuha". Now a description of the forehead. Her friends covered Her brow with sandal patterns, And the pale color of her cheek looks Like a bandage on the wound from the arrows of the god of love. (88) O virgin, the line of tilaka on your brow Shines like an arrow On a strained bow of eyebrows, And I do not know who she will hit. (89) O virgin, tilak on the forehead Do not put musk , do not apply, Otherwise, seeing your face with a speck, Rahu will swallow it by mistake. (90) Tilak on her forehead, put between two curved eyebrows Shining like an arrow in the bow of Smara, After conquering two worlds Ready for an invasion of heaven. (91) Tilak, musk From the navels of the deer, it sparkles like a miracle, Producing pride in young beauties And the fear of servants, as if in disasters the sword of the princes. (92) Sandal on your forehead - moonlight, And the point of tilaka shines, O virgin, like the moon. Into the ocean of violent passion She plunges men's hearts And white lotuses make you open up. (93) Such is the description of the forehead in the great poem "Kamasamuha". Now a description of eyebrows and eyes.

Her marvelous long brows file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

As if drawn with an antimony stick, At the sight of these eyebrows, in a game of skilful, Bodiless his magnificent bow He dropped from his hands. (94) Inflicted with arrows Their flirty gazes Beyond myself from the passion of men Whose mind the thief Smara stole. (95) These eyebrows are the bow of the Owner of five arrows For the conquest of the world, A tall nose is like a tube, To let the darts of passion go. (96) Showing the dark lotus pupils, Ejaculating tears, Her eyes, Unhappy wagtail pride deprived. (97) Burned by Pinakin Kama in the dark ash turned, So women Antimony eyes fail. (98) While beautifully brow-lianami plays, The arrows of her flirtatious gaze pierce my heart. (99) Until then, on the right track is a man, Until then he has feelings, He is shamed and humble, While sharp arrows gaze playful beauties Feathered with dark eyelashes and arrows let out of the bow, Tightened to the ears, his heart will not be amazed. (100) It wears out the body, shakes the mind, causes fever And faints her eyes, like poison. (101) Gazeleokie, your eyes with antimony failing, At the sight of a cityman's eyes, shame was experienced. (102) O young simpleton, your bow is unusual, From him you hit the heart not with arrows, but with the bowstring. (103) Until then, in the hearts of worthy people, the light of pure distinction Shines, Until their playful gazelle eyes gaze on the women. (104)

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Sharp arrow-eyes, Released from an elastic bow on the eyebrow-lian of the Archer by the Dolphin-Banner Struck, whose deer-heart victim will not fall, alas! (105) Eyes that know about past lives, Sweet from the ungainly distinguish, They open, dearly recognizing, And they close at the sight of a foe. (106) Brilliant, clear, blushing and sidelong looking - These are the four kinds of eyes. (107) Brilliant when meeting a friend, Clear at the sight of his son, Looking sideways - in the company of the beloved, Zardevshiesya - at the approach of the enemy. (108) Although with the elders of shame, she always takes her eyes off, However, the desire to see the face of a loved one moves them like an invisible force. (109) One grave vicious deed Is accomplished in this city of the pious, The spear of the gaze of the beauties, Whose eyes, like white lotuses, amaze young men. (110) The precept of a woman with beautiful eyebrows Dolphinshaped performs, For to whom she will point, In that love is born. (111) O virgin, do not bring the antimony eyes, Confusing the arrogance from the gazelle, Even without poison The target will hit the arrow. (112) In vain did the life of that man pass, Who could not find happiness In the huge and joyful eyes of the beloved, Looking in the soul and antimony let down. (113) Such is the description of the eyes in the great poem "Kama-samuha". Now the description of the nose. Kama wants his old arrows to sweep, Using a new weapon, Therefore, her nose looks like

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

It's like an inverted quiver. (114) Even a full nectar, the moon is doomed to disappear, But like a pearl decoration on the nose She seems to be drinking faces amritu, Whose eyes were Bone-to-life returned. (115) Her nose looks like a flower of sesame, It is always respectful to brahmanas, gurus and gods, Golden-haired, like the flower of champaka, Beautiful, like a kouvali petal, Like a blossoming bud of lotus This woman il Kama's umbrella. (116) A certain learned man said, That her nose is like a sesame flower or a parrot's beak, But among flowers and parrots Do not find the beauty of its similar cheeks and eyes. (117) This is the description of the nose. Now the description of the lips. Similar shadows of a tree On a path in the desert These are your mouths, oh maiden, Whose heart will not make To yearn for thirst? (118) You need only a little red paint, And the beauty with the help of the mouths conquered the world. (119) Sweets of lips like bimba fruit, Have not yet tried the lover, Is not he that is like cattle, Who has not tasted nectar, what is a woman called? (120) -Oh, maid, what black speck is on your lips? -This favorite, drinking the remnants of nectar from my lips, set the seal. (121) In three places the Creator put nectar: In the mouth of venerable women, In the poems of good poets And in the melodic sound of the lute. (122) Scratch on the lips of the queen, Similar to the bimba, shines, As if her husband, Having drunk the nectar, put a mark on it. (123) file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Damages on any treasure His values are deprived, But the mouth-treasures of the beloved with the wound Become immensely expensive. (124) How the wise can talk About the similarity of lips and coral, When your mouth is tender And the moisture is covered? (125) About gazoleokaya, this is not a trace From the teeth of a loved one on your lips, It's made a parrot, girlfriend, Having taken your teeth for the ripe fruit of a pomegranate. (126) Sometimes even a flaw As a distinctive property of a thing, Virtue is equal, And so the marks of bites On the lips-petals molodits Become decorative. (127) This is the description of the lips. Now a description of the teeth. Smiling, does she show her teeth in her mouth, Or is it a series of pearls, Il chakora, eating rays of the rising moon of her face, Or mature pomegranate buds or corals, So the virgin with beautiful teeth with his smile The young men are thrown into confusion. (128)

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Her teeth are like diamonds Or the fruits of a pomegranate. In conjunction with the radiance of their mouth, the universe is subdued. (129) This is the description of the teeth. Now a description of the face. Such a wonderful face my beloved can not create, Though still cold-blooded Its disk creates and creates and again destroys. (130) A shame to the poetry of that stupid, unhappy poet, Who compares a woman's face to the Moon, Where on the moon frowning eyebrows, Or embarrassment, or look coquettish, Where does anger or mercy smile? (131) On the lucky one, there is a miracle on your body, On a face with a clean sandal The two beautiful eyes that the blue lotuses are like, They convey all kinds of feelings in love, And the person-moon is gaining more and more magnificence. (132) Shining faces gazoleokih, like the moon, And the gold file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

earrings in their ears sparkle. (133) A clear smile shines on her ruddy lips, Like a flower or a fruit that appeared on a coral tree.

(134)

Do not hear and do not see, So that the lotus on the lotus grew, But, O young simpleton, on your lotus-face Two blue lotuses arose. (135) Mouth, that they did not sing sweet songs, That they did not utter words in Sanskrit, That they did not kiss a pretty face, Those mouths hole only. (136) The face can be compared with the Moon, If it is not stained, But with what will The charm of women's eyes? (137) Who can forget the face of his beloved At the end of loving pleasures, With barely opened eyes, With curved eyebrows, With teeth biting a gentle mouth, Louding: "No, do not!" And with pale cheeks, Wet drops of sweat? (138) A man who did not enjoy the face of his beloved, Fragrant camphor and cloves, With lips red with betel, In vain the life of that passed. (139) This is the description of the person. Now the description of the neck. Pearl necklace on the neck of a beauty Its roundness reminds her breast, They emphasize the splendor of each other, Mutually serving with adornment and decorating. (140) Next to this cute babbling virgin How can a cuckoo be called a sweetie? The voice of the maiden of tenderness from birth is complete, A cuckoo only in the spring cuckoo in the forest. (141) The neck of this ardent beauty It is beautiful in a combination with a breast elastic, file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

It was not otherwise that the god of love chose them as his abode with a necklace of stars. (142) This is the description of the neck. Now the description of hands and fingers. Whence this incomparable action of Gentle hands of the beloved: When they embrace the neck, They fill with the breath of life, And when they unclench the arms, They plunge into perdition. (143) Beautiful hands of this lotus woman, Lotus-like stems. With his charming gestures She will plunge even the heart of the proud into confusion. (144) Palm is appropriate to compare with the lotus, Whose deity is in the ornaments on the fingers. (145) O virgin, your tender hands are like a banana trunk. Men hugging his neck, They give a cool to the heart. (146) Her hands are softer than the flowers, so I think. But Dolphin-born, even having suffered defeat, Imi Haru grabbed his neck. (147) A man who did not enjoy the hands of the virgin, that in the ornaments And musked with musk, camphor and saffron, In vain the life of that passed. (148) This is the description of the hands. Now turn to the topic of the breast. Worshiping gazoleoka geese, Like Sankara, a self-born, Sandaldumb, Staying near the heart, Bearing the marks of Half-moon-nails. (149) Rub against a friend Lush white Percy is lotus-like, So even lotus fiber Will not pass between them. (150) Pearl necklace with its high Perseus Falls, just like the Ganges from the mountains, file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

And a shining row of hairs, young blue lotuses resembling, Like Kaushiki, merges with him. And considering the place of their merging by purity of tirtha, Month for the sake of deliverance from the spot He makes rumination there, stealthily marking the nails. (152) Kanchuk, woven with a needle, Finds peace and joy Only on worthy eulogies Rounded breasts of beautiful women. Is not a man going to heaven, Pierced by sharp arrows on the field of love warfare, When will these jarsjugs come to him? (153) The flame of the lamp, What thin-skinned will hide under the hem, To protect it from the wind, She will tremble at the sight of the glory of her breasts. (154) In vain lived his life a man Who did not enjoy a woman's breast In the spring, When the forests are in bloom. (155) O heart-traveler, do not wander In the deep forest of the female body, Inaccessible because of the mountains of the breasts; There the robber Smara is waiting for you. (156) Sown on the banks of the Ganges, Whose water takes away the sins, Or between the breasts of a young maiden, That they steal the heart. (157) The more beloved Lives in her heart, The more the Persian protrudes, Fearful of the constraint. (159) Kanchuk has acquired a splendor Thanks to the gold necklace, And the necklace has become beautiful, In contact with the breasts. (160) Having seen the Persian of this thin-clothed maiden, the young man shakes his head, As if looking away, file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Fallen in the gap between them. (161) Is it a miracle if an ardent woman With the help of breasts won peace, For even one, having girded his loins, Able to win, what can we say about the two? (162) Your Persians, oh, the big one, Shine like two kings, Invading each other's possessions, Not knowing the world and demanding payment of tribute. (163) Her persians are high, the waist is thin, And the thighs are heavy Who will not drive mad The young body of a virgin with the eyes of a deer? (164) Burning with passion, I touch with my hand the serpent and the rounded breasts, And I drink nectar from the bowl of the mouth, like the fruit of a bimba, Three times, O fervent, I enjoy heavenly pleasure. (165) The virtues of men, valued by themselves, Do not bring happiness and prosperity, just as the Persian beauties, Valued and others, double bring good, Therefore, their dignity is not taken into account in calculation. (166) Under the pretext that the wind is ruffling the edges of her clothes, A certain beauty, cunning and tormented by passion, Flaunts her Persian jugs, Similar boogers on the elephant's head. (167) O traveler, do not wander through the inaccessible mountains of women's breasts, And do not wander in the hairs more often, where there is a lake-navel, There lies the son of Madhusudana, he is a thief, Depriving men of clothes even in the afternoon, and what to speak about the night? (168) When the persians grow, Then they become oblique eyes, Alas, unrighteous, sinful by nature Can not bear the loftiness of others. (169) Even in the rudiment, these Persians are

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

attracted to the eyes of men, What will happen when they bloom, Shrug each other? (170) Shame, which appeared with the growth of breasts, Playfulness wins, And shyly with the sweet Thin-cocked jokes. (171) "Why, on the enemy relying, Did you moisten your face with the moon with tears? "- So, as if you wanted to say Round babes of beauty. (172) Like two golden vessels For the anointing of the flower lord, Like two discs, Reflecting the brilliance of a pearl necklace, Like two mounds On the king's head elephants during estrus, Like two bulbs with stems-hands, Like fruit on a vine imaginary, She carries two treasures - Full charms of Percy. (173) You are gentle, they are elastic, You are thin, they are full, Your face is beautiful, and their breasts are dark, That's why the persians left the heart. (174) Like two fruit on a tree of youth with marks from the beak of a parrot, Like the knolls on the head of an elephant during a heat, wounded by a goad, As vessels with amrita, extracted from the ocean for the enjoyment of the pious, So these Persian slender women shine with fresh traces of nails. (175) Everything that is resilient in the body, Found refuge in the girls' breasts, With the thought "We'll fall down" They could not refuse. (176) Beauty, which turned out to be superfluous, For other members of the body, Having joined in the chest, I turned to the Percy. (177) Just as the pearls on the necklace Serves the high maiden breasts, The gaps between the arrows of the Kama Cleared the hearts of themselves. (178)

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

On the triple path of three folds, At the crossroads of women's breasts with a moving eye, Deceives Madana-pishacha husband, What a little lost. (179) A girl wearing a kanchuk, holding a Persian fruit In their hands-shoots Like the boys showing their size. (183) Decorating the area above the navel, Shining exactly for a month Young, Entered into a time of youth blooming, These full-grown Persians found refuge in the Kanchuk. (184) On the royal chariot spreading luster and bending, With a blossoming facelotus wandering gazelle maiden, With both hands holding a pair of coconuts, Like showing the youth the elasticity of their breasts. (185) Mature to the highest degree poetry, Violating the ancient foundations, Most venerated among the poets. Likewise, the Round high-looking Persian beauties, Bouncing from under the canchuk, are enchanted. (186) Of all the lovely things the most charming are Percy beauties with a moving gaze, And as if to disgust the evil eye, the Creator marked their forehead with antimony. (187) Lord of the day, Ganesha, Kapalin, Kapali, Murari, Virinchi and other gods At the sight of these breasts attention is full; Let them always take care of you! (188) With the help of rounded and full breasts, an ardent woman fascinated the three worlds. (189) Stole the glitter of a gold necklace, Reminiscent of the hillocks on the head of a magnificent elephant during the estrus, These persians of the young filly are decorated with shiny papillas, Let them always protect you! (191)

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

The heat of passion drained the sandalwood paste. On the breasts of the pretty woman, And as if the arrows of the Color-fired Deep penetrated into her heart, And only the plumage remains. (192) Liana grows on the mountain, Gora does not stand on the vine, But now the opposite happened: There were two mountains on the golden vine. (193) Fearing that the Persians did not steal the Magnificence of the hillocks on his head, Elephants hid their pearls, First they carried it openly. (194) Pitchers of white girl's breasts, to which they gave elasticity, Go to the potter's fire, What flower onion made. (195) The eyes of the heart of Percy When the Creator established the Creator, But women without thinking They adapted them for theft. (196) Ignoramuses compare them with crooked hillocks On the head of an elephant, that attractiveness is deprived, And as if because of this defect The breasts of the clear-eyed got dark papillomas. (197) The military prowess of women's breasts with curved eyebrows Even the Creator can not describe, They do not bow, even squeezed cute on the field of love war And do not fall out from under the canchuk. (198) How to describe the beauty of lotus-eyed breasts? You, collecting tribute With seven continents, Himself to pay to pay. (199) To wish the beloved good, Entering the abode of her heart, a certain woman Pearl necklace placed on her breast, Just as they hang a garland at the gate. (200)

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Oh thin, if you're created, To wear Persian jugs, That's why the jugs you wear on your head, Which should be decorated with flowers, About a woman with curly hair? (201) That's right, oh maid, that outward you put out rounded persians, For you know what kind of torment this is in the heart. (202) A kind of thin-witted maiden Woke me to abstinence, And I do not know what they will do to me Her tall Percy. (203) " Oh, beautiful maid, Why are your Persians wilted? - Because if they make a dig, Oh, a fool, even the mountains crumble down. (204) Tall and full of Persia, Blackened with black aloe And shining through the pearl necklace, Who will not be desired? (205) Her Percy, like vessels To start a celebration in honor of the Kama, Covered with hands-shoots, Who will not be relieved of sorrows? (206) " What are these two sprouted lotuses like the toys of King Manobhava, As they appeared on one stem of a series of shining hairs, Although a pair of these disks can not compare with the face-moon, - These are two hillocks on the head of an elephant of youth, immersed in the waters of the ocean of beauty. (207) Her persians guard elasticity, Although for this they are subject to a trick, Accepting it, as if having found refuge, And previously expelled from all parts of the body. (208) Stealing other people's hearts, Appeal of Persian ardent beauty, Who can benefit from eating, Others causing suffering? (209) One canchuka, two breasts, It is not fitting for them to unite, Kanchuk presses on file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

her chest, Women are excited. (210) Unusual fire, enclosed in the rounded breasts of a passionate woman, From a distance he scorches the body, and next he gives a coolness. (211) Pociet lover, exhausted by joys, On his beloved breasts, Like a cool stone bed, washed by the Ganges waves. (212) Sometimes dignity becomes a vice, A vice is turned for good, So, humility is evil, And hardness is virtue in the case of breasts. (213) Why, oh maiden, do you carry the talisman? To your hair and breasts, your beloved's hands should touch. (214) Elastic and high female Persia, Even when they are on the battlefield of love Another is tight and without kanchuk, Like heroes, do not back down. (215) O sister kanchuk, tell me, What penance did you impose on yourself, And I will fulfill them, Wishing to live on the slopes of these breasts. (216) Fearing the driver's horn, a couple of hillocks On the elephant's head turned to female Persians, Nevertheless, fingernails-flicked them fiercely wounded. Verily, that is inscribed on a forehead, you will not change. (217) Highly ascended by the will of Destiny, Percy, full of virtues, have found a society of a star necklace, Coming from a good kind and leading the right way of life, But now it fell, because the Persians drooped. O faint-hearted, why are you sad, Who has prospered, fellowship with virtuous ones? (218) What a great good deed, About Kanchuk, on earth, did you do it? Under you Percy, And on you - a pearl necklace. (219) The sages say about the similarity of breasts to the fruits of bilva,

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

And that's why they got their dark breasts; even in the exaltation there is a flaw. (220) During the amusement of comfort, Percy is always without Kanchuki, By the will of the wind everything moves, and where to find unity? (221) One girl to her beloved, cold to her, embraced, pressed herself behind her breast, And feels that her pointed breasts pierced his back. (222) I think that only gazoleoic peace is promised, And only between their breasts will you find liberation. (223) Passing through a round window, On the body of a beautiful creature, the moonlight plays, Wishing for a close quivering breasts, After so long, he seems to fall apart. (224) The woman then closes her clothes. Full, high and resilient Percy, He opens them, admiring the marks of his nails, What did the beloved leave? this woman is like a poor man, Having gained a jewel. (227) Stunned by the pleasures of the flesh, on grated chaff saffron favorite, Similar boogers on the elephant's head during the heat, Reclining and her body wrapped around her arms, the lucky man Spends the night, catching a short time to sleep. (228) Bowing in front of the lotus feet, among the yogis of the abiding daughter of Bhava, the gods, people and poets revered, And also giving honors to the mentors, The learned Blessed Ananta in the verses describes the breast. (229) Such is the description of the breast in the great poem "Kama-samuha". Now the description of the waist. Even having connected one Bali, Hari the grandeur has found, A slender virgin, having three bali, Remains humble. (230) At the waist of a virgin, like an altar, There were three darling folds, It's like a ladder of early youth, Used by Kama for ascent. (231) file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

With her thin waist, She disgraced Ganesha, And the wave of her three folds, seeing, the Creator was fascinated. (232) Oh, how blasphemous was the Blessed Lord of creatures, That he created her thin and lean, file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

If the wind blows on her, What should she do then? (233) Under the burden of breasts, at the time of adolescence Gained extraordinary fullness, Virgo with oblong eyes, like a blue lotus, I got a very thin waist, so I think. (234) This is the description of the waist. Now a description of the line of hairs on the abdomen. Walking from the deep navel, a fresh row Black hairs on his stomach thin-shined, Crossed with a belt, Like a middle pearl on it. (235) Fresh row of black hairs Shone above the lake of her deep navel, Like the buds of the saiwali, dropped from the beaks of the Chakravak-breasts, frightened by the moon of her face. (236) This vortex of your deep navel, oh beauty, shines, And, together with the pupils, the eyes of loving men are drowning in him. (237) Her deep belly-lake Brahma created, And the forest of hairs on its clean brege itself appeared. (238) To fill the chest-vessels Amrita from the navelwell, Lakshmi-youth seemed to be abandoned Rope in the form of a series of hairs. (239) This is the description of the line of hairs on the abdomen. Now the description of the womb. About yoni, here wait, Here we come, Like a tortured self, When the staff grows again. (240) She lives between her vast and clean thighs, With mouths turned downwards, in the thickets of young grass, toothless, she consumes time, Let the goddess, called the bosom, guard us. (241) With his only tooth, the serpent serpent, Converted down, stung the world, And against its poison there is no spell, no medicine From Garuda or the One who has the Garuda on the banner. (242)

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

He is the worst of sinners who creates sins by the size of two fists and four fingers. Women are blessed by the bosom, Which can be covered with the palm of your hand. (243) A man who does not enjoy Three creases and a deep navel underneath, And thighs, decorated with a girdle, Between which the secret is hidden, the life of that has passed in vain. (244) With a gold pippal growing at the foot of two plane trees, one can compare the best part of the body with a gazoleoka. (245) In the gates of the womb there is a place, Like a large sheet of pippala, And kiss here, the pinnacle of all pleasures, As they say, relieves heat passions. (246) In the middle between smooth thighs Shining magic halls of Smara, Giving the coolness at the foot of the plane tree And a leaf resembling a gold ashvatthi. (247) What can better hide her bosom, Than a sheet of ashvatthi, Otherwise, why does she tremble with fear, When something else her bosom covers. (248) Around the womb of a woman from Bengal Shiny young hairs, Like grains of sesame, placed by the Creator In the golden shell for the saturation of Madana. (249) Similar to the ashvattha leaf, color reminiscent of the Red sugar cane, deserters' fun, Compared to the gazelle's hoof, oh slender, This is your castle of Madana all overpowering. (250) -On the virgin, what is this, charming and bringing happiness, visible between your thighs? What is it that attracts lovers in you, shines in the middle? - It's a sacrificial pillar. -Who? -Manobhava. - Is he unclean? -For the sesame grains presented by lovers in me, I even give a reward, as befits, such that Brahma can not describe. (251) This is the description of the womb. Now the description of the buttocks. file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

At the sight of fluffy buttocks, lotus-eyed, the ripening made, Her friends turned to men in their thoughts. (252) Thin-skinned people like to wear colorful clothes, And their waist is always decorated with a sash. (253) This is the description of the buttocks. Now the description of legs and thigh. Even reached the state of maturity Her thigh can not be compared Neither with the elephant king's trunk due to the rudeness of the elephant skin, nor with the perfectly cool trunk of a banana. (255) The trunk of a banana with female legs can not be compared, It is cold by nature, therefore there is no similarity here. (256) The thighs of a beautiful woman The sham elephant trunk, Therefore, elephants, tormented by great sorrow, Deep sigh. (257) This is the description of the legs and thighs. Now the description of the feet and fingers. Spraying the red varnish With the brilliant fingernails of her big toes, Her feet seemed to dot the ground The lotuses growing on land. (258) Their feet, decorated with nupur, were created by the Creator, And it seems that they have stolen the Enchanting gait of a goose. (259) The young prelate shines, Kindling the fire of desire, And the flashing of her feet Encourages to get drunk with desire. (260) Footsteps like lotus-like lotions, Fingers on which rings of gold shine, And streams of tears Women fascinate the wise. (261) Having entered the young years, The proud maiden steals an elephant's gait, And then the nupur file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Confusing the king's geese. (262) As if playful, the elephant steps with an elephant's gait And, shining with the radiance of her nails, As if he presents flowers to the goddess-earth. (263) A number of nails are magnificent. On legs , They are like a pearl necklace, Appearing from the ocean of beauty. (264) The most enchanting among all the charming stories, Giving delight to kind people, tormented passion, Description of the beauty from head to toe Ananta created. (265) This is the description of the feet and fingers. Now the description of the whole female body. Just a passing glance Her charming eyes, Similar to kouvali petals, Able to make happy. What can we say about passionate Amrite-like embraces? (268) Are not they talking about their beauty, happy signs and prosperity? In their outfits all of them He even kidnaps the hearts of yogis. (269) Under the burden of breasts and thighs Slowly she walks, Dexterously practicing here In the kidnapping of the hearts of young people. (270) Breeze from the edge of their garments The lamp goes to nirvana. So why, having visited their embrace, A man will fall into hell? (271) Between virtuous and devoid of virtues Great difference is visible, A pearl necklace decorates the female neck, A nupure - legs. (272) O mother, my body became awkward, Liane-brows bent, The heart filled with fear, The eye became

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

unstable, On the chest, two roundness appeared, The buttocks became heavier, The waist had disappeared somewhere, And my legs lost speed. (273) Perseverance always save In your heart, O Virgin, do not be afraid, Such awkwardness affects women, When youth to childhood comes to replace, A medication that knows, who knows how to prescribe, With good and bad symptoms The doctor is your husband, skillful in these matters, show him your body. (274) Her face to the moon is similar, Percy is full and elastic-prigi, And in the hips she is widerock, Oh, how beautiful this young woman is! (275) Thanks to the drink of nectar, the pitta leaves the lips, With the touch of the breast, the cotton wool disappears, Constant copulation from Kapha relieves, The female body is a cure for three kinds of diseases. (276) - Where are you going, oh brother? -In the house of the healer. -What for? -There is healing from disease. -Doesn't your house have a loving wife who can cure all the ailments? Vata will leave thanks to squeezing her breasts, pitta - with drinking amrita from her lips, Slesma - due to fatigue caused by the exercise in soya. (277) These are your lips, oh dear, the fruit of amalaki, Two breasts - hittavasti and vibhitaka, And the abode of Madana is the fruit of haritaki, From the ailments of three species heals these three fruits. (278) -O king of doctors, tell me which is the best medicine From the multitude of arrows of the coquettish gaze of this slender virgin? -It is recommended to drink honey from her mouth And put a bandage on her rounded persie. (279) -Oh doctor, tell me, what is the medicine for men Burned by the flirtatious gazes of a thin-clad virgin?

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

-Carry hugs-healing food, A kiss on the lips - a decoction of healing. (280) A virgin carries a scythe on her chest, a Beauty like the peacock's tail, Silk clothes after bathing Stuck to her breasts. Who will embrace and kiss this maiden, Beautiful and delicate, with intermittent breathing, He will taste the nectar for which the stupid gods, Attempting to apply, the ocean was puffed up. (281) Her palms can be mistaken for Madhukah flowers, Eyes for blue lotuses, lips for bandhukas, On the scythe, delighting relatives, sit bees, tormented by desire, Which it is difficult to drive away. How many places, oh, you save from them. (282) The appearance of a wagtail on the disk of the Moon emitting cold rays, A series of pomegranate grains in the bud, And a pair of fruits of malura on the branch of the Madanaka tree, I saw three of these extraordinary and enjoying things together today. (283) Amrita in the lips of women, And in the heart only a halakhal-poison, That's why they drink with a mouth, And on the heart they beat their fists. (284) With his pretty belly Ganesha disgraced, With his oblique cast into the shame of snakes, and face - the moon, She set out to conquer the world, Vainly, her wise name is impotent. (285) The poets are foolish and unfaithful, Which women are constantly called weak. After all, throwing your playful gaze, Women even Indra and other gods overcame, what are they weak? (286) The wise say that the hands that did not touch the persians are useless, And the ears that were not able to listen The sly words of the ambassador from the beloved, only a hole only. And teeth that do not bite their lips during amorous amusements, stones are similar. So is not the cattle a man who has not tasted the sweetness of a woman? (288) With red eyes, clasped from sleep, file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

With a body covered with traces of female nails, Her husband from somewhere comes back at dawn home The ancient poets called this woman "khandita". (289) In cold weather, her body is hot, In the heat it is cold as ice, Such is a tender maiden by nature, "Shyama," the wise call her. (290) Shyama has a swarthy body, Syama is sixteen years old, Shyama did not give life to a child, And she has a sweet voice. (291) Recollection of her gives rise to suffering, And contemplation of her drives me crazy, Touch to her intoxicates, How can she be merciful? (292)

From the embrace of her husband slips like a snake, And tries to be invisible, At the sight of it he trembles like a frightened antelope, Touch does not tolerate him, So how can a bride bear the burden of a soot? (293) Who on earth the beauty does not subdue, Saffron covering the body, Whose white persians swing to the beat of the necklace, file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

And the chime of the nupur on whose lotus feet

is like a goose bug. (294)

With a face-moon stone, With sapphireshair, With legs-rubies, She shone like a treasure. (295) In young years, even the self-controlled mind is restless, Just as during the rains Sprouts on the royal road sprout. (296) Without the juice of the khadir, the lips of gazelleoks do not acquire color, And without the necklace of Percy, attractiveness is deprived. (297) Unusually the military skill of the Great in the spirit of Manmatha, He pierces the heart, Untouched leaving the body. (298) Sweetness of lips, breasts elasticity, sharp eyes, And the poetic creations of maturity are known to the connoisseurs of beauty. (299) Aspiring to liberation, let them always betray themselves to the divine river, And passionate let them enjoy the ardent woman, playful during the amorous games. (300) O woman with a fickle gaze, You practiced a new kind of theft, Even in the day of the awake men You're abducting your heart from afar. (301) The worship of Manmath, whose abode is women With full and high breasts And gait, slow because of heavy thighs. (302) A woman with magnificent hips At the same time, both amritis and poison. For her beloved she is a liana, full of amrita, And for those who are indifferent - a poisonous escape. (303) First amrita sweet words, then face-moon, and after Lakshmi-beauty, then Kamaduk love games, then elephant gait, then teeth-necklace of pearls, And finally, from the ocean the body of a beautiful woman, plowed up by youth with a mountain, The poison of her tender eyes appeared, which even Vladyka can not bear. (304)

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Seeing the face full of the Moon, the lips of the nectar, the teeth-rows of pearls, Sri-beauty, an elephant's gait, sensing the fragrance of parijanata and other paradise trees, Hearing speech-cow desires, being pierced by the streams of arrows of coquettish gazes, Like drinking Kalakut poison, you think, not for your sake, lunolikaya, the gods puffed the dairy sea? (305) The face that teases the moon, the eyes that laugh at the lotus, The body that shines brighter than gold, the curls that overpower the black bees, Percy cast into the embarrassment of the mounds on the elephant's head, heavy hips, Soft fascinating speeches, such decorations are given to the girls by nature. (306) She moves with a long twisting gait, Like a poisonous snake, Blue lotuses shining on the hood, Great as the Himalayas, If anyone looks at her, The doctors are rushing about in all directions in search of a medicine, But for me, wounded with the eyes of that simple, There is no spell, no other means. (307) Hair covers even ears, eyes are perceptive, By nature, white teeth shine, although they are in the mouth, Percy-pitchers constantly serve as a pearl necklace as a shelter, O thin-skinned, your body is at least calm, passion in me excites. (308) Women from Saurashtra are skillful in love, and the Marathas are simpletons, Lovely girls, Malva-born people, they like to shine with their clothes, Proud of their merits, they like to sing fair-skinned Gujarat, And the kashmiri are sweet-tongued, the women of these six kinds of the heart kidnap young men. (309) Who did not touch the heavy hips of women Karnaty, Who gujaratuku in the mouth did not kiss on the bed of love, Who even in a dream did not embrace the Persian jugs of kashmir, Youth is barren of how the flower of jasmine is more often forest. (310) Women from Karnataka are skilled in love, women are always filled with passion, Women Cholas have long hair and lovely long eyes, and Gujarati love wealth, They are cruel to the men of the Malwa woman, and the bengals are very wise, Women from the east are full-breasted and fine-eyed, and all the dignities are inherent in the southerners. (311) Happy are you on earth, if your kind is high, like the Persian Marathas, If you are as soft as a woman Lata, if your voice is deep, like the belly button of the woman Chedi,

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

If your wisdom is wide, like the thighs of Abhiriks, and long, like the black curls of Bengals, If in battle you are severe, like a carnat on the bed of love, if your mouth is sweet, like kashmirka. (312) Percy his Maratha does not open as much as the woman of Andhra, But does not hide as Gujarat. And the meaning of the words, half obvious and half hidden, For some reason it attracts, like the breast of a woman from Maharashtra. (313) With a lotus-face, hands-lotus stems, water-filled games and coquetry, With thighs, like stones at tirtha, with eyes-sapphires, with hair-grass of shaival, With the chakravak persians, this sweet woman is like a pond, What the Creator created for bathing those who fire arrows scorch. (314) Her contemplation steals the heart, Touch to her takes power, Soyae with her seed deprives, Truly, not a woman, but a rakshas. (315) The one who is happy is the man who shares the bed with his beloved, whose waist is like a line drawn by a brush, Whose hands are lianas - rounded glasses of wine, With a sweet head, breathed by the wind of her breath, Having drunk from her lips the nectar of love and plunged into a nap. (316) The braid on her head moves in time with her eyes, as if she had knocked her sour milk, As if Bodiless, proud that alone the world won, And in anger that from Bhava defeat suffered, threw the bow And seizing his sword, practicing with him in the morning. (317) Her seat - an excellent chariot, Percy - horses, eyebrows - bow, gaze - arrows, Her full hips and makeup - armor, ruddy lips - a banner, The ringing of the nupur and the bells on the girdle - the sounds of shells and dundubhi, exclamations - elephant roar, Nails and teeth - an incomparable weapon of ardent beauty, with it enter the battle! (318) Description of the great beauty, filling with the arrival of youth all the members of the body of women with the eyes of a deer, Ananta creates, his glory as a poet multiplying. (319) So, in "Sri-Kama-samuha" the description of all the members of the body of the maiden is completed.

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Now the description of the first coitus. That beauty with charming members of the Girlfriend in the house of delights was taken away, Where was the husband, And when her beloved inclined to soya, Even her words full of reproaches, Were pleasant to his ear. (320) Putting on himself a dark blue cover, Carrying a sapphire on his belt, Like swallowed at night, A certain girl with a moving eye On a date to her beloved went. (321) Happy is the man, In whose ears incessant words fall: "Oh no, no, do not, let go, let me go!" Words of beautiful women, Shaking palms and covered with sweat From the tension of the first sootia. (322) When, kissed, the person turns away, into the arms enclosed, Rides on the bed, trembles excessively And muttering indistinctly some words, Only the heart is pleased with the young woman. (323) When they address her, she gives no answer, She wants to leave, hanging her outer clothes, She shows her back on the couch, But her husband is sweet. (324) Drops her eyes as soon as her husband looks at her, When he turns to her, she does not say a word, She lies on the couch, turning away from him, Trembling when he hugs her with power, Aspiring to disappear from the house, When friends leave , Let the newlyweds do everything against the wishes of her husband, but still she pleases him. (325) The girl is thin, and gently her body - Do not worry about it. See how big a black bee Enjoys a flower bud. Therefore, in a solitary place, ruthlessly torment her. After all, the stalk of sugar cane file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Juice does not give, if you gently press it. (326) Men do not like too young wives Hearing such words from a friend, she considers them true. But later various soya, embraces and kisses. Again and again on the first day, mercilessly she is tortured. (327) When the husband furiously silk clothes tears off his shoulders, She covers her breasts with her hands, And when the tissue pulls from his hips, he squeezes his legs. When he looks down into place below her navel, She, bent with shame, tends to blow out the lamp, And the lotus, taken out of the ear, extinguishes the trembling flame. (328) Gently, tenderly embraces the newlywed husband, Like fearing to break the banana palm of love, Sprouted in her heart. (329) Who passionately kissed the proud, Truyuschu in trembling palm skilful lips-shoots, Furiously exclaiming: "No, no, Let go, O villain! ", Bending the eyebrows, vomiting eyes and breathing intermittently, He got amrita, for which Stupid gods plowed the ocean. (330) A few days my love Somehow remained motionless during coition, And then, gradually having tasted the taste of pleasure, Has left a habit to suffer. (331) When he kissed, She turned her face away, When I untied the belt, I held his hands. But even the desire to prevent her It became Rustopkoi for passion. (332) Seeing that the night is running out, A thin, leaving the house of pleasure, Until the end was not satisfied A lot of kisses and tight embraces, What he gave her, One leg on the ground, And the other on the couch, The husband turned his face to his face and showered her with long kisses. (333)

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

"Stop it, my lord, leave my clothes, Put the lamp down, friends next door," More than even soya, these words bring the newlyweds to the husband of joy. (334) For the species grasps hands, Branitsya, and she smiles sweetly in the shower, Pretends to cry, and her eyes are dry, So the young wife hides the pleasure of her husband. (335) Intermittent breathing, pleading for mercy, Sweet words without meaning And laughter as an ornament So the young woman follows the instructions of the "Kamasutra". (336) He gently treats the girl, Recently brought to him, As if she was a bride, Fearing that she would suddenly leave him with fear. (337) Having tasted the sweetness of the lips of the girl, In this forest your husband slept happily, Putting his head between her breasts, He, ardent, as if he drank nectar from the mouth of his beloved. (338) Hold with your left hand Fragrant flowers with thick hair, dragging loose belt And the asleep outer clothing after the pleasures of love, Spitting betel, with a disheveled face, Leaving carnal fun, she left the cave, In Madana's dominion, Permission to ask your loved one. (339) An elderly citizen, blessed Ananta, Mandana's son, Best among all doctors, writes about coitus. (340) This is the description of the first coitus. Now the description of her husband's departure. "Even though I wanted every day to indulge in various kinds of love pleasures, In the case it is necessary to go to another village, What many benefits promises, "This intention was accepted by the young man. (341) When my beloved husband said something about file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

his retirement, She, submissive, for a moment was tormented by a premonition of separation, But then the simpleton looked at him. And, embracing her, she asked: "When will you go?", The joy is full. (342) "Far away, O beautiful woman, you left the city, That's the asvattha tree, go home, "he said tenderly to his beloved wife, But the sight of Kanchuk hugging Close embrace her full rounded Persia, And the tears flowing from her eyes to her chest, his departure was interrupted. (343) My hand removed the power, You left, but I'm not surprised, If you leave my heart, That's what I call courage. (344)

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Remember me, although I was thoughtlessly cruel and lacking in merit. While in distant lands, let me always live in your thoughts. As an oil poured into the lamp, so that it does not run out, So you keep the lamp of our love. (345) We did not know the counts of the days that passed in joys and jokes, And time passed, just as water flows between the fingers, Today the work is over, and so I 'm leaving. Remember me with a kind word, though I am not worthy of merit. (346) Remember me, dear, I can not remember you. Memory in the heart is stored, And you took my heart with you. (347) If you go, dear, go, I wish you a good journey. And let my birth be there, Where we will be together again. (348) I'll bear the separation, my lord, Give me antimony for the eyes. I, who looked down, Can not hit Kandarp. (349) The fire of Manmata burned in the heart of gazelleokoy, And her love was like a miracle. (350) I wish you a good journey, I wish a new early meeting, Execute what you want, And remember in due time about me. (351) If I say "do not go," it does not promise good. If I say "go," it's from lack of love. If I say "stay," then it sounds imperious , If I say "do as you want," then this is a sign of indifference, If I say: "I can not live without you, Then these words are suitable or not. Therefore, teach, O Lord, What should I say when you hit the road. (352) He does not wash his clothes, He does not put his hands on the door, He does not fall at his feet, Do not beg: "Stay!" But only while the sky covered the clouds, the male villain was file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

about to leave, But he was prevented by the river From the streams of tears it is thin-and-thin. (353) -Oh dear, spend a few days, closing your eyes. -Happiness to you, I close my eyes, so that the space is empty. -I will come. -You will return with the good fortune of your friends. - Give me a sign, to whom in Tirthas you want to make a libation of water. (354) - Do not forget me, lotusolikaya, - Your beloved asks. "Yes, it will be so, O lord, If the ability to remember past lives will be with me. -Why in one birth, in which we are familiar, Memory of the past incarnations? -My life with you, O traveler, will go away, And since then another incarnation will begin. (355) "O virgin, whose hands are tender, like the stem of a lotus, Whose locks like a swarm of intoxicated black bees, With a playful, sweet and moving gaze, Oh thin, I'm leaving. " Hearing this, she began to stammer, her face, Like a full moon, and mouth, like beams of fruit, Covered with a stream of tears, she sighed heavily and lost her senses. (356) Slows back and forth, Sits on the water, Gathers shoots of lotuses, Wings shakes, As mad, circling, Quacking and screaming At night the male chakravaka, Tormented by separation from his beloved. (357) Let him go, let him go, Why should he stay, Let go, let go, friend, And do not repay honors. Intoxicated with the fragrance of Jasmine Flowers Nowhere else Joy will not find a bee. (358) Although everywhere there are lakes, On which the lotuses blossom, The heart of a goose does not please one, Except

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

as the lake of Manas. (359) The son of Narayana was a pious counselor, a Brahman named Mandana, His son happily described the condition of a woman when her beloved went on a journey. (360) This is the description of the care of a loved one. Now the description of the traveler. About stealing the heart, holding the formidable arrows of coquettish and moving eyes. It is not proper for worthy people to kill me, already slain by the arrow of Manobhava. (361) About a simpleton that is dearer to me than my own life, It is not fitting for you to show anger. What time will the fish survive without water? (362) O traveler, do not rush, wait a moment, I'll tell you pleasantly, It's hard this part of the way, friend, and you do not go left , There in front of the tree stands a simple woman, guarding the well. In her eyes-silks please, you will get into a great trouble. (363) Why are you looking at me A charming look, putting a pitcher on the thigh? O lotus-eyed, look at the other, Women with a pitcher on my hip do not like me. (364) "I'm leaving," the lord of her heart repeated five times, and the ornaments from the shells With her hands-lotuses immediately fell one after another. "I will not go away," as soon as the thin woman heard these words, the remaining jewelry broke, making a sound: "chat, chat." (366) Oh book on which marks of nails, You are my sworn enemy, Because I am abandoned by this cattle, Whose mind is immovable immersed in you. (367) In the agonizing summer afternoon, When the road is hot, In a cool, copious grove Grove You, O traveler, rest. I'm lonely, you're young, And there is no one at the source of life-giving moisture, My shame has gone away, you are adept, file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Know that the right time has come! (368) " Whose water is this, O young one?" Our, O traveler. " What do they drink from it?" - Paías. - Cows or buffalo? "Vara, O traveler." "How's Tuesday?" - Monday or Saturday, not Sunday, - I can not say, Oh, dear traveler, oh gentleman, with folded hands ask that you want, then drink. (369) The traveler said: Sages spend time on poetry and the study of sciences, And the stupid ones spend it, indulging in vices, sleep and quarrels. (370) O travelers traveler, stop for a moment, are you a doctor or a scientist? Which medicine will heal my mother from night blindness? Or will my husband return, living long in a foreign land? (371) The door boils, oh, Kandarpa, my foe, is hurting me. His arrows wounded, I've got shelter, oh lunolikaya, I've found refuge. (372) People are awake, the lamp is on, Friends are looking with curiosity, Have an hour of patience, oh dear, Who is hungry and eats with both hands? (373) O woman with eyes as beautiful as a wagtail, If because of you I'm destined to lose my head, so be it, After all, Ravana because of the daughter of Janaka I've lost ten heads. (374) I'm not greedy, oh woman with a playful gaze, So why do you cover the full persian with the edge of your clothes? Know that geese living on the lake of Manas, They eat the stems of lotuses constantly. (375) Strongly grasping him in anger with a loop of gentle hands-lian, Wife leads her husband's evening home in front of her friends, Sobbing, she lupit and sentences softly: "Once again so!" Pointing to a bad deed, and he, stumbling, All denies and smiles, satisfied. (376) " Whose are you, O virgin, and where is the master of the house, tell me!" - I'm on my own, I'm free . " Are you intoxicated with desire?"

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

" If you tightly embrace me." But I'm a despicable washerwoman. " No, no, my dear, your caste is high!" Thanks to the touch of whose hands, answer, Girlfriend, clothes are cleaned of dirt? (377) Brilliant, like the movement of your eyes, One that can be clasped with a palm like your waist, To which you can put your lips to lips, As if to your chest-vessels, Like your heart, a frenzied passion, Desire, as your appearance, And sweet, like your mouth, Such, oh young fellow, bring me betel! (378) Under the guise of grinding beans, Gazelleokaya studies a special kind of love games, Suffering in separation from her husband-deity, She seems to be practicing in the forgotten art of pleasure. (379) At night, with the sound of the continuous tapping of drops of rain from the clouds, the Traveler, sighing sorrowfully, with tears in her eyes, Long remembered the abandoned young wife and then wept in the sun yo throat until the morning, so that from now on the villagers banned Wanderers stay in their village. (380) When I heard about the girl, you get three crores, In the conversation enter - one lakh, I touched five thousand, Two hands embraced - three thousand, Kissed eyes, Percy, mouth - It is believed you gain one and a half, And joined with the gazelleoka - You get used to the value of the gundzhi. (381) Traces of red lacquer on forehead, Impressions of cuiras' bracelets on the neck, Face smeared with black antimony, Eyes similar to betel's color, And the lotus-toy on the stomach - Seeing these wrath of the Decline causing her on the body of her husband in the morning, Gazeleokaya sighed for a long time. (382)

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Why, when you approach me, you boldly kiss me with the Force, where is your shame? The edge of the clothes let go, let go, the villain, What vows and promises, a deceiver? To me it is bad, all night I did not close my eyes, To the new sweetheart come back! What is the joy of a bee in a garland of flowers thrown out, Serving as a tribute to the deity? (383) In the house of visits, indicated by his beloved, Sending a messenger, then she found the house empty. And for a long time waiting, the beautiful eyes lost hope. Coming back, she sobbed continuously, With thick antimony, washed away with tears, Like an inscription on earth devil pointing to the place of expectation. (384) With lotus hands tearing away the flowers from the garland, That her hair is adorned, Throwing pearls from the necklace around your neck, As if dropping one burden after another, Wanting to meet with you, The severity of his thighs is thin-skinned on the way constantly scolds. (385) The paths of virtue are proudly followed by righteous people, They exert effort, Always afraid of hearing a reproach from others, They do what is difficult to accomplish, But this is not an ordinary person, He, ignorant, do not care about good or evil, He is happy, not knowing the differences Between due and inappropriate. (386) Oh dear friend, musk rub and bring here sandal, Weave the flower garlands And prepare a bed for fun lovers. For my spouse will come, The only one worthy of my love. You know, he likes Eastern forests and mountains. (387) Why does your pride glisten in your eyes? Such blue lotuses are found in all lakes. (388) Shaking his hips, She slowly walks away, file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Although in another place was heading, My heart stepped on my leg. (389) With the sunrise, her dream is over, Girlfriends are crowded at the door, And the bridegroom slipped out From the weakened embrace of hands like serpents. (390) Ascending and dispersing the darkness, Chasing away drowsiness, Encouraging to start things, From the unhurried escape, Shines a radiant luminary. (391) Ananta, the bearer of boundless gifts to poets, brahmanas is honored, He created this delicious description of the traveler. (392) Such is the description of the traveler and woman tormented by passion in the "Sri-Kama Samukh". Now a description of an amazing woman. Where the man suffers from the fetters according to the will of Fate, Only a tool is a woman with charming chakora eyes. (394) At night, because of the clouds, a blind darkness covered the earth, My husband is deaf from birth, he is blind at night and exhausted by work, There is not a soul in the house, I'm young, and I'm scared, The village suffers from thieves, o traveler, you do not sleep! (397)

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

After the Lord of the day Through the power of his divine rays, the enemy-darkness was scattered, He departed into another world, Satellites of darkness, lamps, In the morning of all the houses run away, Every night kept under the hem of a woman. (399) The milk of buffalo, With sugar, cow milk, Kalidasa's poetry and early youth, Autumn Moon and a gentle girl These paradise pleasures are enjoyed by people. (401) Tomnym, fickle, embarrassed, Gentle, quivering and slow, Full of great astonishment and love, Coquettish gaze of a woman With beautiful and long eyelashes My defenseless heart is broken, Pierced, drunk to the bottom and torn from the root. (402) Curly is inherent in her hair, Red lacquer - to the palms, feet and lips-petals, Elasticity - to the breasts, impermanence - to the eyes. (403) A brilliant gold chain adorns her neck, She captivated the Moon with her face, She carries a mirror, placed in the fortress of her breasts, - This woman looks as if overcome Born in thoughts. (405) Hair cast a peacock's tail into a confusion, In the ears swaying earrings, Lick disgraced the wonderful disk of the Moon, tired like a young coral, The eyes have eclipsed the blossoming lotuses of the petals, The breast-jugs of that gazoleoque, Whose heart will they not steal? (406) It is known that your heart, Desire for kissing the lips of young beauties, like a ball, That's why, pushed by lotus hands, Dev, you fall and fall again. (407) The locusts fall into the ocean,

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

In the flower of the lotus hides an intoxicated bee, In the hollow of a forest tree finds a shelter bird, And the Bodiless little by little enters the young maidens. (408) The face is like a month, the king of stars, Talia, like a lion king of beasts, A gait stately, like an elephant king , If such a woman has settled in the heart, then what kind of repetition of mantras, asceticism and contemplation? (410) Ardent, charming, charming, Beloved moloditsa Gives an incomparable pleasure in love, If such a woman settled in the heart, Then what kind of repetition of mantras, asceticism and contemplation? (411) Her mouth-petals laughed at the beams with fruits, Her breasts are heavy, her thighs are full, And the moving eyes of the gazelle were plunged into shame Even the heart of a wise man will steal a young one. (412) Giving the teeth a sparkle of rubies, Laughing lips - the radiance of corals, And curls making black, As sea salt, According to my opinion, the stupid Creator wanted to create you from the gems, And therefore the heart is hard, like a diamond, He put it into your body-liana. (413) Nectar on sweet lips, Fragrance of a lotusface, A tender body of liana, the mobility of the eye, Skill in the affairs of love And the sheer flattery of speeches - Thanks to a set of such qualities A young woman is conquering the world. (414) There are two lotuses, but there is no water, there are sandy banks, but there is no river, there are skies, but there is no space, there are two bouquets, but there are no lianas, there are coral, but there is no ocean, There is the Moon, but the night has not come, There is a cloud, but the rainy season has not come, Oh my God, God, how amazing is the creation of the Creator! (415) file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

At first, impenetrable darkness, And after a month with its parts, Then - a pair of chakravak, and then - emptiness, Then a bottomless vortex And a couple of banana stems, And after - lotus feet, Oh my God, God, how amazing is the creation of the Creator! (416) First - a lotus, above it - a banana palm, Above - a sandy brege, then there is nothing, Above - a pair of mountains, and above them Sink, Month and Shail. (417) On a lotus there is a banana palm, On the palm tree there is a sandy breg, On the sandy shore - the heavens, In the sky - a vessel, on the vessel - the moon, On the moon - a black bee, Such a miracle was created by the Creator. (418) - During the clouds it is impossible to keep from falling . " Do you long for, oh, ardent?" - No, no, it's a slippery path. (419) Having bathed, gazelleokaya before the house, He keeps his scythe in his hand, As if the firearm was from the eye of Hara. This kind of a simple one with drops of water that drip from a braid. On the ground of his breasts, he grows the tree of Kama. (421) It is not a face, but a lunar disk, From which a spot has disappeared, These are not breasts, but golden vessels with amrita. These are not ringlets, but the arsenal of Madana's weapons. These are not eyes, but shackles for men. (422) O messenger, you did the right thing, right, and what's left to do? It's for my sake you nails and teeth. I kissed him. (423) If the moon puffs up, If the lotuses fill the curvature, file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

If the sweetness becomes coral is inherent, A softness onions Kandarpa, And if the platan in a frenzied movement comes, - Only then you can compare them face, eyes, lips, eyebrows and hips. (426) Her breasts are elastic, but her words are not rude, She walks with a slow gait, Her face and eyebrows are round, but not the heart, Her waist is thin, but not thighs, Her gaze is mobile, but not character, Her hair is black, but not her dignity, Her navel is deep, but the lotuses do not grow in it, How can you forget this young beauty? (427) Seeing that there was not a soul at home, From the bed she slowly rose And, going up to her husband pretending to be asleep, I looked at him for a long time. Quietly kissing him, she noticed, As her cheeks went up hairs, And the loved one smiling for a long time, showered her with kisses, Young, who looked down with shame. (429) Touching the knot of her clothes, he said: "O simple-minded, oh dear, Without Kanchuki you carry a treasure abducting the mind. " And seeing her joyful eyes and smile, And hearing these flattering words, The friends who sat on the edge of the bed quietly left. (430) When she rose at the end of loving pleasures, One hand laying on the chest of Lord Garuda, And the other, holding the sleeping clothes, And her hair was spread out over her shoulders, Her beauty at this time twice shone brighter, And Shauri, pleased with contentment, On the couch he drew her to him, Tired, and embraced again. Let the shining hands of Lakshmi cleanse you! (432) This is the description of the amazing woman in Sri-Kama Samukh. Now the beginning of separation. Now the description of his wife. I do not decorate my neck with a necklace, afraid of parting. Today mountains, rivers and trees have grown inside me. (433) file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

It is not surprising, if one who has lived before and does not know sorrow suffers, But why do you grieve, Already scorched by passion? (434) Happy are those women, oh girlfriend, Who will see a loved one in a dream, As for me, then, along with my dear, my foe is gone. (435) In the daytime the bird endures the heat, When her husband is with her, But at night, even the cool rays of the moon torment her. When the heart is heavy, everything is unbearable. (437) Ruthless, you shoot arrows Even in women, tormented by separation from her husband. If you fall into the field of Pashupati's sight, I will know your essence! (438) "After the day passes in entertainment, Night turns into flour without you, O charmer!" - A wife, in parting reading this love letter of her husband, Again and again deprived of feelings. (439) The night lasts for hundreds of kalpas, the day becomes manvantaroy, the month is scorching, the sandalwood paste burns like sparks, Food is like poison, even a necklace turns into a snake. During separation from the darling, everything causes flour. (440) When the dear is far, the Necklace burns like salt, Sandalwood paste is like poison, And the south wind is like stoning. (441) O Rohini, you are the wife of the Moving Night, Stop, oh girlfriend, your ill-bred husband, Penetrating into my house through the window, He touches my hips, Is this worthy of a family man? (442) In the affairs of love, one can not escape the temptation, The dearest far away, the heart trembles, The passion is immense, the age is young, Life is difficult, the genus is pure, file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Female nature with persistence is incompatible, In the yard - spring, Manmatha's friend, even Death is powerless, And the girlfriends are cunning, how can I endure the separation? (443) On the one hand - spread the couch, On the other - lit a fire, Now or sweet or death Will put an end to my torment. (444) The month concerns women's hips, To him, marked by a spot, this is just right, But to you, full of virtues, It is not proper for the wife of a foreign wife to squeeze! (445) It's not the hair, but the hair put in the braid. It's not poison at the neck, but musk, It's not a crescent on your head, it's a flower. It's not ash on your body, it's pallor, caused by separation from your beloved. So why, flower-shaved, Do you understand me for your ancient enemy? (446) Separating from her husband's black hair braiding In one braid, she, excited, sings, Without thinking of anything, reclining on a couch, a sad poor thing, Indra among the sages call her "The one who has tears in her eyes." (447) In separation from her husband, with a pale lotus-face, Leaving the ornaments, in untidy clothes, Hand pressing her cheek, she is known as "prasthana-varatika." (448) The peacocks of pride are full, the clouds are clouded, The wind blows, spreading the pollen of kadamba on the grass, She entered the time of early youth, But the darling is found in another country, Time passes, life is impermanent, cares exhaust the heart. (449) O Creator, hide the moon, Until my spouse returns, When the darling will be at home, Let a hundred moon decorate the sky! (450) Mandana, the best of the royal doctors, is honored on earth, His son

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

described the suffering of his wife in separation. (451) This is the description of the separation from the beloved.

Then the wife, who is separated from her husband, sends him a letter through the messenger. "You are mine, and I am yours, Although we are apart from each other, "A woman in separation, Full of feelings of love, Such a letter is sent to her husband. (452) O lord of life, please, Stay there for a few more days, I am tormented here by heat, And even the cold rays of the moon burn. (453) O beloved, in the soul there should be no fear Because the moon rays are singing, Because in my heart, burned by the fire of separation, You always, oh dear, live. (454) He will return, and again we will be together, If my desire is fulfilled by the goddess of compassion, But youth, O Lord of life, having gone away, does not come again, It flashes like lightning, it. (455) My breath is where you are, And only the body here Is held by the power of love, Just as the waters hold the lotus. (456) For righteous people, that virtues are full, Parting in this world does not lead to the cessation of love, Unless to the distant Moon, which was closed by the clouds, and the darkness enveloped, Night lotus affection is losing? (457) file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

For the person who is suffering a disease, For an indigent or a stranger in a foreign land, For a man who is grief-stricken, Meeting with a friend is like a medicine. (459) Just as the night lotuses languish on the Moon, Day dreaming of the Sun, Chataki waiting for the arrival of clouds, A bees - flowering flowers, Cuckoo yearns for mangoes And for her husband, who went to a foreign land - a young woman, My heart thirsts for you, dear friend. (461) As the chakora is the lunar disk, As chakravaka is the Lord of the day, Like a peacock - raindrops, So I want to see you. (462) How the cow remembers the calf And the sun is the female chakravaka, As a faithful wife keeps in mind the image of her husband, So I remember you. (463) As in the cold season, poor people crave solar heat And look with hope at the rising star, So I see you thirsty. (464) In the summer, wandering in the woods, Tortured by separation from his beloved and thirst, the Traveler wants to find water, So I want to see you. (465) Just as a black bee, Being among the lotus petals Closed under the influence of the rays of the Moon, thirsts for the Sun, so I long for you. (466) Like a peacock, tormented by heat, he remembers the clouds, As a goose yearns for a lotus, So I remember your image. (467) As with the advent of the rainy season, Chatak craves moisture from heaven, So I also wish to see you. (468)

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

As a hunter-nishada, going to the forest, Wants game to eat, So I also wish to see you. (469) As, standing in the middle of dirty water And keeping silence, The heron seeks to catch the fish, So I want to see you. (470) As a wicked beauty, leaving her husband at night, She wants another man for lovers' pleasures, So I want to see you too. (471) To what many loud words in the letter, it is enough to say: "Our love is like the love of the Chakravak." (472) The sages always contemplate Brahman, the Geese pine for Manas, Elephants think about the waters of Reva, On the shores of which blossom groves shallak, So I, eager to see you, I remember my love. Blessed be the day of our meeting! (473) As the goose recalls the similar mass of the water of Manas, As a sailor on a journey through the sea, his native harbor remembers, As the cuckoo in the spring constantly thinks about mangoes, So I remember your appearance. (474) Horus recalls the games of elephants and peacock screams, the Chakora - the moon, the bees - the lotuses, the peacocks - the clouds, So I also remember your lotus face, my lord. (475) Oh, my eyes are hungry for happiness to see your face, Ears want to hear news about you, The mind always stirs up thoughts how to arrange our meeting, What can I do if, due to the accumulation of karma This bliss does not fall to my lot? (476) The disc of the Moon is far from the waters of the ocean, And also the Sun - from the lotuses of accumulation, And where are the clouds and where are the peacocks? As a bee can to jasmine seeks And to the distant lake Manas fly a flock of incomparable geese? The one who is file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

loved, by the will of karma Even when you are far away, it is very near. (477) Let the day be glorious, Let this blissful moment be blessed, When we meet with you By the will of Kama. (479) Mandana - an elephant doctor, like the second Dhanvantari, His son composed a chapter on writing love letters. (480) So, in "Sri-Kama-samuha" the chapter on writing love letters is finished. Now the complaints of the woman in separation are described. If separation from the beloved tortures even the poorest among the poor, So why did you die Will you look for it from the fire? (481) Divine sight I gained, Though my eyes are full of passion, Being in the remoteness, By them I see my beloved, Living in a foreign land. (482) And so far the Lord of creatures Has not turned my hands into wings That, having soared up to heavens, I saw her face. (483) Rising to the sky, the beloved seek the birds, But not such an unhappy man, Deprived of wings, he is almost crippled. (484) So far, Cold-Blooded Its disk creates and creates and re-destroys, Being unable to create such a person My beloved with long eyes. (486) While you wanted to draw, I On a stone paints from minerals And myself, fallen at your feet, My eyes were clouded with tears. Even there does not tolerate the cruel fate of our union! (487) The rays of the moon burn,

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

A gentle breeze like a lightning strikes, Garland is like a lot of needles, Sandal burns like sparks, By the will of Destiny, the light turns into darkness, And life becomes unbearable. Oh, the time of separation from the young beauty. Exactly the light-over! (488) I know that even when in a dream I saw the dearest, turned away in anger, Sobbing: "Do not touch me with your hands!" And going to leave, While I'm hugging her Calmed down with hundreds of sweet words, Oh, brother, crafty Fate made me Wretched, my dream interrupted. (489) "During the separation from his beloved anxiety seized his heart," So after counting, the dream went away, Who will render the ungrateful honor? (490) If I remember that thin-skinned, Then where will hope come from? And if I forget it, I will live, Then what is the point in this unhappy life? (492) Remembering the pale face of the beloved at the end of the coitus, Covered with sweat drops from the tension of love games, With shining, half-closed eyes, O heart, why do not you break into a hundred pieces? (493) Until now, her, with a light golden body, Like a champaka garland, with a blossoming lotus-face, With a series of hairs above the navel, rising from a dream, Slender as a palmira, passion intoxicated, As if I lost my knowledge of negligence, I remember. (494) She, moon-faced, with eyes like a deer, With a waist like a lion, fragrant like musk, Seeking through the woods of his calf, Have you not seen her, my life? (495) What should I do? Where to go? No Rama in this world. No one, except Raghava, will understand grief, born of separation from the beloved. (496)

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

A slow and swinging gait, Like a gorgeous king of elephants, A virgin with a moving gaze, A thirsty passionate embrace comes. (497) To what here are many words and inappropriate complaints, One of the two resorts should be chosen by the man: Either a young beauty, Exhausted by the burden of breasts And indulging in love games Either forest jungle. (498) When the Born in the mind touched these thighs, Immersed in the heat of separation, he lost his strength, If a banana tree touches these trunks, then the waters of the desert will be polluted. (500) Tormented by the moon, her friend scolded, and then fell to the floor in her house, Where the heat of passion was, And she rubbed her eyes in the face. (502) I will not go to the house of my lover, my friend, At night he will rob me, Before me he tortured me without guilt, Holding me tightly in his arms, Hardly worth recalling about this, my body trembles, And my heart is filled with pain. (507) Following everywhere behind his young wife, With a heart, weary of wounds, Inflicted with arrows of Kama, All in sufferings, the husband grieves in a bush, That served as a place for all pleasures. (508) "Let the fire of separation burn my members, The dearest one, who lives in my heart, Nothing threatens," - with such a thought Lunolikaya flows tears constantly moisturizes the tips of her breasts. (509) On my chest glitters a necklace, and not a huge snake, On my neck, I have a garland of lotuses, and not a trace of poison. On my body I do not have ashes, but sandalwood, put on the part of my beloved, Not once, O Bone-Free, mistaken for Haru, Why are you attacking me in anger? (510)

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

On the bow of the eyebrows, an arrow of coquettish gaze is laid, let it hurt me, Black curly locks let them try to strangle me , Let, o slender, spread the enchantments of a rudy mouth, like a bimba, And oh how are your rounded Persians with my life playing! (511) In the spring, the fragrance of jasmine flowers spreads, And flying bees constantly sweetly buzz. At this time, remembering his defenseless wife, at the will of the playful Manmatha, Putnik parted with life, exclaiming: "Oh Hari, Hari!" (512) When the god Indra sends rain, when the wind blows And the peacock dances, then my beloved part with life. (513) The night passed, so soon! And I'm leaving. I'm hungry for my embrace, my beloved is awake at home. (514) Even though there is a lamp, Even though there is fire and many other bright sources of light, For me without that virgin with the eyes of a deer The world is shrouded in darkness. (515) Oh, slender, the grief of separation blackened the body of Rama, And also the male chakravaki without a friend in the forest sadly screams. (516) For people with good taste everywhere The best of what you should see - The face of a hazel-eyed, radiant love, What should be inhaled is the fragrance of her face, What she should hear is her babbling, What should be tasted is the sweetness of her mouth-shoots, What she should touch is her body, What one should think about is the inherent dullness of early youth. (518) Those women who spent the night at least an instant with her husband, They, being separated, the cold-lunar moon is singing like a meteor, I do not have a husband, and there is no one to part with, and if there are not both of them, That does not threaten neither a long way, nor in the mirror gaze, nor heat, nor cold. (519) In this great poem, having studied all the writings, Anantha described the complaints of women in separation. (520) Such is the description of the complaints of women in separation in the "Sri-Kama Samukh". Now the return of the beloved. Oh girlfriend, my body trembles, And with it the left eye, file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

And also the left hip and both hands, Every minute I see my husband. (521) "O raven friend, live myriad years, drink amrita, sit on any tree branch. When the darling comes back, fulfilling my hundreds of desires, I will treat you with rice porridge with yogurt, " While the traveler's wife was chatting like this, her husband entered the courtyard, And the seams on her kanchuk parted, and on her body rose hairs. (522) In the courtyard croaks a black and full of dignity of a crow, A good omen, and now the husband appeared before her eyes. (523) When the beloved playfully approached the box, In my heart I decided, my friend: insidious, I'll repay perfidy, But as soon as he looked at me with a smile, my clothes fell to the ground, And the hairs rose on the body, what became of my steadfastness! (524) To him who foretells the return of the husband Or who brings it to himself To whom, friend, I honor The first should be given - a crow or a camel? (525) Is it not in this world, the abode of light, Not a single parrot, cuckoo, chakora, peacock or goose, What is now a crow, sitting in a golden cage, Do your clunky movements? (528) Yes, I will see my beloved And this will find peace, Though my eyes are full of passion. Why should I see anyone else? (530) In her moving gaze, reflected a milky ocean, And this perishable world, devoid of meaning, As if the significance gained. (531) When the lord of life appeared, Life returned to me, Oh girlfriend, look at this miracle: Former dead, again I'm breathing. (532) That venerable woman's day watches Spent in cares about her husband,

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

And those desired by the heart, bringing joy Twilight, when she waited, began to decorate herself for love. (533) In this great poem, Brahman Ananta Described the wonderful return of a loved one, as poets sang of it. (534) Such is the description of the return of the beloved in the Sri Kama Samukh. Now the traveler's questions. " Where did you go on a dark night, about the one whose thighs resemble an elephant trunk?" " To the place where my beloved lives, the lord of my life." " Tell me, are not you afraid to go it alone, O virgin?" " Why, my companion is Madana with his arrows flying." (535) " -

O young simpleton, why are your lips in wounds, and your limbs so weak?" At night I was stung by a snake, skilled in various kinds of love pleasures. Why, stung by a deadly snake, did you immediately part with life? At that time, without thinking of anything else, the mantra: "ha ha" repeated. (536)

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

What is this brightened by early youth Lunolikaya woman walking along the road, Rotating with sleepy eyes, With mouths rudy, just like bimba fruit? And what is this rakshas passion Disheveled her hair and left it on the body Traces of nails and teeth, like playing with a tiger? (537)

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Who is this woman with a heavy, full and firm breasts and a thin waist, Like a troubled fallow deer or a nimble and frightened antelope from the herd, Walking with a coquettish gait, like the procession of an elephant during the estrus, Seeing the beauty of that sweet, even the old man is embraced by passion. (538) Who is this fair-skinned, gazelleokaya woman, With a face like the moon in the full moon, Stepping playful gait, The elephant during the estrus or the goose, with curved eyebrows, Gently petrifying, with breath, fragrant aloe, That worthy praise of a man, A wonderful life, who has such a beloved. (539) Who is this woman, swinging her hips, seized by a hot passion, With curved eyebrows, like a Bodiless bow, shining like the Moon, O King, with a face that resembles a flowered lotus, a fine-tuned charmer, Playfully carrying her braid as a staff, she goes to the source of the water. (540) Who is this moon-faced, showing signs of passion, Whose body is light-golden, like champaka, decorated with a full breast, Her playful gait inspires courage in men, Has this woman descended from heaven to give pleasure? (541) Ananta - a connoisseur of an infinite number of sciences, a sage and enemies, a destroyer, He composed the section "Traveler's questions", bringing joy. (542) So, in the great poem "Sri-Kama-samuha" the section "Questions of the traveler" is completed. Now the beginning of coition. Who is this woman, whom they talk about, With an agitated gaze, walking with a goose's gait, With feet padded with saffron, Nuzzling golden, Walking along the road, exuding abundant fragrance, With a restless braided scythe, With betel in the left hand, With a smile on her lips entered the secret hall? (543) She is either a Kinnari or a goddess il Vidyadhari, Or a companion of the naga, il flying in the sky, il living there, Il Gauri, il Spouse of Hari, or Lady of speech, Or bud in his youth tree, or visible to the city of Smara, who is she on this earth? (544) Yakshini she is il Gandharvi, Kinnari il the mistress of the gods, The daughter of a siddha is the daughter of a sage, the daughter of a naga or a woman who can fly in the sky? (545) file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Vidyadhari il apsara, woman or mountain, I do not know who you are, tell me, about the enchantress. (546) With a face like a full moon, With eyes, like a blue lotus petals, With the pace of an excited elephant I appeared, your beloved. (547) About beauty, wounded pride is not, Pride of youth is a mystery. Truly, youth is like a dream, Because, oh, simple, she does not return. (548) Enjoy your love constantly, as long as there are strengths, After all, youth goes away every day, Who will give love to the dead Together with dumplings, sesame seeds and water? (549) Look, look, my lingam is tall, Willing to enter your halls of Smara, Dump, drop your underwear and kanchuku And give me the joy of co-creation, oh dear. (550) Swarthy, like a blue lotus petal, The stepping gait of an excited elephant, Owning a happy share, Having beautiful body members, Dear sweetheart, enjoy. (551) Shining like the rising Sun, With a full and high chest, A glowing youth and beauty Dear sweetheart, enjoy. (552) Self-conscious saffron, What is mixed with sandalwood and aloe, Wearing white clothes and a wreath of white flowers. Dear sweetheart, enjoy. (553)

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

With a neck decorated with a pearl necklace, And with nupurami on legs, With lips, like bimba fruits, And with eyes of lotus petals, Dear sweetheart, enjoy. (554) A close embrace squashed Percy, Voloski rose on the body, Sweat came from an overabundance of passion, Slept a belt and clothes, "No, no, oh, respectable, enough from me," she croaks a little, and falls silent. She fell asleep or died Or in my heart dissolved? (555) The waist of her adorable body is thin, like a lion, about to jump, Each member of the body shines with its ornament. At night, the ardent lover ruthlessly and without respite Enjoys herself, versed file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

in the art of pleasure. (556) Soying "anikya" il "reverse" soyat Il "animal" with a bean A skilled man gives pleasure to a woman. (557) Soya "anikya" is when the couple recline on their sides, In close embraces, the bodies pressed against each other. (558) When a woman enjoys downstairs, and above is an ardent man, This is a well-known way of copulation, loved by peasants and young. (559) When a woman enjoys love in the opposite position on an ardent man, This is the "reverse" way of coping, pleasant to competent people. (560) When a man enjoys a woman standing on all fours, This soya is known as a similar animal, And all passionate people love it. (561) Putting the woman's feet on her shoulders, the lingam in the bosom is easy Introduces an ardent man, and this union is called the pose of a crow. (562) When a woman is at the top, and an ardent man below, This soya is known as "Artava", and it is pleasantly learned to people. (563) When, placing one woman's leg on her breast and the other on her shoulder, She enjoys an ardent man, such a union is called "reverse". (564) When, women's thighs have marked on the basis of their own, He holds her by the neck, such an alliance is known as "urban". (565) If a beautiful woman hugs an ardent man with her hips, This is called a "loop of pleasure," which brings joy to passionate people. (566) Holding his hands on the hips of a beautiful woman and embracing her closely, Let the ardent lover join her, this union is called "bracelet". (567) If a woman puts her feet on her neck with her own hand, And then hands holding on her breasts, with her lover joins, This is the union of "beloved satisfaction." (568) The legs of the woman laying on her breast, let her keep her hands with her hands And, so many wishes, enters into her womb, this union is known as "samapada." (569) Spreading the legs of a woman, holding on a bed in her arms,

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Thanks to the conjunction of lingam and yoni, a man enjoys this union "Sampoo". (570) Straightening the legs of a woman, bending her knees, Touching her breasts, let on the ground enjoying a man, this is "ardha-sampuchta". (571) Inviting a woman to claw her legs with her own hips And, touching her breasts, let the man enjoy it, this is the union of "stanarata". (572) Let the man of the woman's foot in the area of her breasts place And, holding her neck, let her enjoy it, this is the union of rati-sundara. (573) Holding the legs of a woman, let her hands squeeze the hips And without fear, a man enjoys, this is the union of "uru-pidit". (574) Holding one woman's thigh with her left hand, and placing her foot on her head, Let the man connect tightly with her, and this is called "the circle of Smara". (575) Holding the woman seated between her knees with both hands at the waist, Let the man enjoy the fear, without fear, this is the "snake loop" union. (576) Pulling both legs of the woman and turning away her face, let the lingam Enter the man in the womb, this is the union of the "kulish". (577) Thanks to these and other kinds of union a deep pleasure is born, Therefore let people without carelessness combine an alliance. (578) Disheveled hair, worn off from the body of sandalwood, Set in a fit of jealousy, marks of nails and a torn belt - all this When enjoying a woman brings joy. (579) Pinging delightful nupur during a love affair So steals the minds of fervent men, That no singing, no music, no sounds of the cuckoo, chataka or peacock match. (580) So in this "Kama-samuha", in a huge collection of poems, Ananta described a joyous soya. (581) This is the beginning of coition in the "Sri-Kama-samuha". Now the description of the middle of coition. A close embrace, squeezed Percy, Pot, speaking on his forehead, Skilled lips, stray breath,

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Curved eyebrows, arms, as if in a dance, Footprints from the nails and the delightful murmur of gentle words, Joy of coition with beloved women They are tempted by those on whom the flower-blossom is blessed. (582) If you do not forget yourself During coition or during samadhi, What's the use of soya? And what is the meaning of samadhi? (583) This is the fruit of passion, visiting people, That two hearts become one. If the difference is preserved, It's like soyaet cheaters in love. (584) -This is the woman who seems A heavy load of sandalwood paste, applied to the body, Which sleep on the bed soft, As a lotus petal, excessively tiresome, That endures the weight of the whole body Beloved man, where is this miracle? -What in this miracle! Look, What is inaccessible to the one who loves? (585) Thus ends the description of the middle of coition. Now the description of the reverse copulation. When the ringing of the Nupur ceases, the Bells on the belt ring. When a loved one is tired, An ardent woman turns to a man. (586) Her face is covered with droplets of sweat, She breathes intermittently And she smiles languidly, And her curls are in complete disarray. Only virtuous men Eat with lotus-eyed pleasure. (587) Virtuous drink honey from the lips of women, Braced to them on the chest with a loose scythe, Then with closed, then with slightly open eyes, And with the cheeks that are covered with sweat, Caused by fatigue from pleasure. (588)

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Let them always fall on your chest Flowers from braided hair, which, like lianas, come in disarray, Because you are during pleasure Fiercely grab for them. (589) The chime of Nupur, And you can hear the bells on the belt ring. It is the woman of some meritorious owner. She plays the role of a man. (590) You alone know how a woman, Being her favorite, please, How can he be called a husband Near to you, O sinless? (591) When a woman, placing her feet on the hips of her beloved, passionately moves the waist, this is the union of "hamsa-lilac". (592) When the woman on the lingam of the beloved sits, Legs placing on the ground, And hands on his chest, This is the union of "lilasana." (593) This is the description of the reverse copulation in the Sri-Kama Samukh. Now the description of the completion of coition. Her curls scattered, and swaying earrings, Sweat streams just washed away the drawings from the body. Let the beautiful eyes and face tonkostannoy in the end of enjoyment Keep you always, why Hari, Hara, Brahma and other gods? (595) The time of comfort has expired, and now she gets up, Holding in his left hand curls that were swept, And in the right - sleeping band and silk dress, And he again kisses her on the cheeks and hugs. (596) Ripening, caring for the body, cool wind, Absorbed by pieces of food, cold water, Milk soup and intoxicating beverages They are enjoying a reclining on a couch After a love affair, And so again he goes to the Bodiless abode. (597) When the holiday was over, a variety of delights, And extreme fatigue settled in the body, And they, half-dressed, reclined on a bed, Wet with sweat, which mixed with sandalwood, file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Because of their deep love and affection for fun The spouses, tormented by passion, again arose desire. (598) Extinguished all the fixtures, Okrug plunged into a dream, But stimulated by the thought of enjoyment In the middle of the night, ardent men wake up, With a strong embrace they They wake up their loved ones, Almost asleep, exhausted by previous soyaem, And sweetly tormented. (599) Having started a quarrel and shedding flammable tears on the couch, She got up in anger and went to the door of the bedchamber, But, seeing the faded month, blown by the morning breeze, With the words: "Oh, the night will soon pass!", The beauty fell to her beloved on the chest. (600) After studying many sciences, collecting wonderful poems, Belonging to good poets, Brahman Ananta In a great poem, he described the completion of coitus. (601) Such is the description of the completion of the congregation in the Sri-Kama Samukh.

Now the words of the word of a man, addressed to the beloved during the quarrel at the end of coition. Oh, beauty, say a word, you'll break the silence! Why are you angry with file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

me, your beloved slave? If, oh maid, you think that I've hurt you, Then punish me, tied the loop of my hands. (602) "Oh, good-natured beauty, jumping up on the couch, I put my arms round the neck with lianas!" When the spouse told her this, the gazoleokaya looked at the lamp And, oh God, plunged into an ocean of shame. (603) Brilliant and skillful speeches, Crooked eyebrows, A smile is easy, black hair is gorgeous, You are the best among the fine-hearted. Soft and gentle touch, Breasts, thy vessels at the end of the union shine, Men are thirsty to serve you, Leave your anger on your beloved! (604) O fine-brained, you're angry with me, And I stopped eating, left talking about women, Far away threw spirits, wreaths, Fragrances and smoking. Your anger, O ardent, leave me, have mercy on me, Standing before you on your knees. When you are not around, dear, I am surrounded on all sides by darkness. (605) Come quickly into the house, do not stand on the street, Oh, dear, now is the hour of the lunar eclipse. Seeing your face, the moon, on which there are no spots, Rahu swallows it, leaving the full moon. (606) If, on the lotus-eyed, anger has settled in your heart, Then let him be your favorite, what can you do about it? Offer him your arms, What you offered me before, and offer kisses. (607) Almost passed the night, About moonlit, and as if the moon went out, the Lamp flickers, As if falling asleep. Though I bowed before thee, But why, O wondrous God, do not you leave anger? Let, O angry, next to your tender Percy, Cruelly your heart. (608) file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

"O goddess, oh lady, oh dear, O dearest, O sovereign of life, "Such full of love is a variety of gentle words, And also bowing at the feet, His beloved, whose cheeks are flushed with anger, Looking out from under frowning brows, A certain youth pacifies And she kisses her face. (610) "Oh, slender, leave your anger, Look at me and fell to your feet, never before seen , I You are so angry. " When the spouse told her this, She spilled out of the gazing eyes, barely open eyes, But she did not say a word. (611) O hard-hearted, leave the delusion, Based on the stories of the deceitful, Gossip is not proper Suffering a man to do. Do not you, oh, They counted for the truth. As you like, do with me, O beloved, and be happy! (612) " Oh, my little girl!" "Yes, my lord." "Leave, O pride, your anger!" "Whose anger is my bad?" " You grieve me." "But you do not hurt me, I'm guilty ." " Why are you tearful, mumbling incoherently ?" - Who sees? - I can see. - And who am I to you? - Beloved. - No, not my favorite, that's why I'm crying. (613) " There are youngsters in every house here. Go now and ask them , Do they bow to their loved ones, Just like your slave does? " O your own enemy!" Do not believe that evil people Whisper to your ears. Deprived of the delight of love, Continuously tormented by grief of a man. (615) The sky in the east became red-golden, Like the saffron, the moon rolled up, The flame of the lamp went black, The stars of brilliance were lost, The wind carries the fragrant lotus pollen, Tenderness is inherent file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

in a deep feeling of love. O friend, on the neck open Passionate hugs, the Sun rises! (616) The sky in the east became reddish-golden, Like gold swallowed, The month turned pale, like a learned man. Among the crowd of village peasants. The stars faded, like kings, Lost power, And the lamps do not shine, As the virtues of the poor. (617) The fragrance of lotuses is blossoming, Sitting on a tree, the cuckoo is cuckooing, The sun clears the top of Mount Meru, Rise, oh fine-eyed, night has passed! (618) Hold with your left hand Thick hair, fragrant with flowers, Dragging loose outerwear And the loosened belt after the amusements, Spitting betel, with a disheveled face, Drunk with pleasure without a trace, She came out of the secret hall In the power of love hops, craving for fresh wind. (619) An elderly citizen, Brahman Ananta, Cited the words of a man, Said during the quarrel, Followed by the pleasures of love. (620) Such are the words of the man in "Sri-Kama-samuhe" addressed to the beloved during the quarrel after the end of the coition. Now the words of a woman addressed to a friend after the end of loving pleasures. Her eyes do not blink, like the eyes of a goddess, She draws on the ground, sighs deeply, Thinks of something motionless, He trembles tremendously with the hairs that rise on his body And sheds tears, looking at the water for a long time, Lying on her knees, It's like only a few days a beauty Someone taught a lesson in love. (621) When the beloved approached the box, Knot unleashed himself, And falling clothes from the waistband Just for a moment lingered on the hips. Only I know, girlfriend, How our bodies came into contact, And who he is file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

and who I am, and what happened During coition, I do not even remember a little. (622) Hunting before rubbing the palaces of Madana, Roughly kissing a face like a bee, Wanting to squeeze lush breasts, Knower in the art of love - this is my husband. (623) I am a virtuous wife, My own husband is deprived of merit, In solitude he always stays, Even to my body without touching. (624) Happy are the women who, when loved By the whole body they will press, oh girlfriend, Courage is shown, even at the time of comfort Great resilience while preserving. And here when from me His hands-lotuses clothe clothes, Who I am, and who he is, and what happens During coition, I do not even remember a little. (625) After studying charming poems Good poets, brahmana, son of Mandana, Created a delightful poem, Full of excellent and wonderful words of passionate women. (626) Such are the words of a woman in Sri-Kama-samuha, addressed to a friend after the end of loving pleasures.

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Then the woman returns home from her husband, and here are the questions and answers from her conversation with the traveler. What kind of moloditsa, spent the night in delights, with a smile on her face, With clothes, from sweat stuck to the body, At dawn, it's like a gazelle, In fear in all directions looking around? Who, like a bee, drank nectar With trembling lips on her lotus face, Who now released Manmahu, Burned by fire from the eye of Hara, and who pleased him? (627) Has not been erased nor musk from your bark, Oh girlfriend, no sandalwood with breasts, no antimony - with eyes, Your lips have not lost their red color from betel, Are you angry, about the elephants stepping on Indra, or is your husband a child? (629) I am not angry, beautiful, in the house of pleasures, and my husband is not a child, On the reason for this position, listen, oh girlfriend, you will tell her how in the spirit, Seeing me, very young, lunolikaya, like Kandarpa's wife, In embarrassment, the husband stood next to the master of the Daityas. (630) Why did you look at me with beautiful eyes, Standing with a jug on your hip, Look at the other gently, about stepping with an elephant's gait, I do not like a woman with a jug. (631)

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Beautiful eyes - lotus petals, Pearl necklace - stretch of water, Rounded Persian - geese, A series of hairs - a swell on the water, Folds on the abdomen - waves raised by the wind, Navel whirlpool, Who is the owner of this lake, Created for the delight of men? (633) He crashed after the fall from the top of the banyan, He worshiped Rudra, presenting the full colors of the basket, In battle his body was wounded with tusks of elephants, He owns this woman-lake, intended for the delight of real men. (634) Ananta, who gives joy to scientists, The one before whom the enemies bowed, the Grace of Gurus Created a section "questions and answers" (635) So in the great poem of Kama-samuha, compiled by Ananta, the section "eight questions and answers" ends. Now it is told about the abodes of Kama. Head, eyes, lips, heart and bosom Here are the five abodes of Kama, in which he undoubtedly resides. (636) In the female navel, the abode of passion, Because here Kama himself is. Kama wanders in the worlds, People inhabited by gods, asuras and people. (637) First let there be a touch, When the kiss serves as an ornament, Then let him hug his neck, And then he uses the lingam. (638) During coition, let him use the lingam. Busy in the art of love, he can immediately melt a stone. (639) As is known, on the first day On the head of women is a passion, And on the second in the navel, And let the man touch his tongue. (640) She quickly begins to tremble And from fear is deprived of feelings. On the third day on the file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

buttocks Let the nails mark the man. (641) On the fourth day, let her touch the tongue with her tongue and brow-lian And let the Wise conclude it in close embrace, driven by passion. (642) The agitated woman is melting, Like a moonstone, Delighted by the moon rising, And he does not want another man, except his husband. (643) On the fifth day, let her teeth touch the ends of her breasts, And she shows a passion, Known as a lust cup. (644) Her limbs immediately soften, And she starts to yawn immediately, On the seventh day of the chin And let the articulations touch the nails. (645) On the tenth day on my stomach Let the marks of the nails a man put, And the woman ejaculates passion, Excited, tormented by desire. (646) On the eleventh day of the tip of her nose Let her touch her teeth and nails, Then her limbs melt, And the mind is confused by the Beseless. (647)

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Let the connoisseur of art of love leave marks of fingernails, And quickly the woman shows passion, Mad while becoming, Therefore, it is prescribed to use nails. (648) On the ninth day on hips And back everywhere The wise leaves marks of nails, And she does not want another man, except her husband. (649) Let him move his hips And with the fingers of the hands of a young woman, Mad, she falls to the ground On the twelfth day. (650) On the thirteenth day, let her nails touch the Neck and the left side of her back, And she sighs deeply, file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

When again and again touch it. (651) When a woman is hugged so, She does not want another man, except her husband. Let her teeth bite her lower lip, A fingernail touches the region of the heart. (652) On the fourteenth day of affection, Able to charm any woman, Gradually spreads On the base of the ears, the forehead and the pair of thighs. (653) In full moon, Smara is found on the head, And from day to day the wise Let Munmatu settle in the indicated places. (654) Dusty, like a daylight, For others, for love, she will not. The same is true for women In the dark half way. (655) In the same order Let him wake up Kama sleeping. Let her arms around the woman And fingertips scratch her thighs. (656) Excited, bodiless, confused, She flows with passion, When her ears are bitten by her teeth, And her hips scratch her nails. (657) Moloditsa falls, excited, Bewildered by a passionate touch. Let the men who are thirsty for loving pleasures act in this order. (658) Such it is necessary to put love blows And to do passionate motions, A woman melts under the influence of desire, Like a potted oil from a fire. (659) Big toes, feet, ankles, knees, seat, navel, chest and Percy, Boka, neck, cheeks, lips, eyes, forehead and head, On these tracts of Kama on the body of gazelleokoy In the light half from the bottom up should go, And in the dark half back file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Up to the left foot. (660) They keep the curls, Kiss the cheeks, eyes and forehead, Scratching the nails of the sides and neck, Squeeze tight breasts, Bite the teeth with teeth And they kiss their lips in different ways, They beat in the chest with their fists And spank lightly on the navel. (661) Ananta in delightful verses Describes all the wonderful, pleasant For all passionate people places, Where Kama abides. (662) Such is the description of the monasteries of the Kama in Sri-Kama Samukh. Now about the ways of enjoying a woman. Let women enjoy wise women, Sensently discern their age, Including girlishness, youth and maturity, And the propensities that are inherent in them. (663) A girl is called a woman until she is sixteen, And then, to thirty, she is a young woman. (664) Then, up to fifty years old, she will be mature, And after being known as an elderly, Unsuitable for the festival of love. (665) The fruit of the fruit, the betel and the garlands Win the girl's heart, And the young woman is conquered Various ornaments and affectionate obodzhenem. (666) Thanks to close embraces and kisses Mature women want men, A respectful, sweet And pleasant words fascinate the elderly. (667) In summer and autumn, the girl is suitable for men, Moloditsa - in the winter in a cool time, A mature - during the rains and in the spring. (668)

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Thanks to the constant enjoyment of the maiden, Moloditsej - the blessing comes, A mature - is a long life. (669) In the spring and autumn, let him enjoy soybeans every three days, During rains and in the summer - once every two weeks, And with the arrival of a cool pore Let him enjoy as much as he likes. (670) In the winter, love gives pleasure at night, In summer - day, During the rains - when thunder roars and the rain pours, In the spring and autumn - and day and night. (671) In the sitting position it is necessary to caress the girl, In the reclining - the young one, A mature woman - also in a standing, These are three types of caresses. (673) Up to sixteen - a damsel, Up to thirty - a miracle moloditsa, Up to fifty the average, And after - the elderly. (674) The maiden - the taste of grapes, Moloditsa - with sugar comparable, Mature is like a mango fruit, And the elderly - like a coconut. (675)

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Let the man to soya not proceed, As long as the beloved is not fulfilled desire, Otherwise there will be no pleasure, file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

So the science of love says. (676) An elderly citizen who settled in the city, Erected by Ahimmed, the son of Mandana, Ananta Gives prescription as a woman to enjoy. (677) Such are the ways of enjoying a woman in Sri-Kama-samuha. Now the description of a woman in love. Throws gentle eyes, decorates his body, Ears will scratch, hair again and again dissolves, With a friend chatting, will show the navel, Pass will pass, the child will embrace So behaves in front of the coveted man A woman, tormented by passion, in the power of love. (678) Spit braids, will idly walk, Ears scratch, sigh, the body will show, Will lead a conversation about love, fingers click, Will throw a tender gaze, And with friends to talk, yawning, Seeing the child, he will kiss, He will laugh loudly, the saliva will expire, (679) Name will call, with respect will turn, Will joke in danger, describe the virtues of a friend, Stay in a shiver, cover with droplets of sweat, Bring a garland, will lead a courteous speech, Decline away, Such twenty signs of love There is a woman full of desire. (680) At the sight of a loved one, with great joy, her face and eyes glow, And she hides an unusual smile, Looking with an uninterrupted gaze. (681) On the hands, legs, chest and face She has sweat, About business she speaks stammering And looks at the navel, the side, Folds on the abdomen, hips and rounded persians. (682) Ties a knot at the waist, yawns, stretches out the limbs, Curls the lips, scratches the file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

ears, loosens Hair, And on the body goose bumps. (683) Easy in communication, asks for money, Child kisses and hugs, To the friend rushes on a neck, Sighs, watches clothes. (684) He shows gestures with his hands, plays eyebrows, pronounces sweet speeches, Flicks his fingers, squeezes his breasts with his hands. (685) Nails draw on the ground, the grass tears off, solitude wants, By these signs, a woman you love will know. (686) A connoisseur of beauty, let him give joy to a woman, in love and desire, blinded, And an experienced man should avoid a woman that was abandoned. (687). At the sight of him she smiles, pleased, and asks for affection, The sleeper kisses, conducts sweet speeches, hugs, With tenderness, he looks at him, what he asks, fulfills, possesses good qualities, He rejoices when the one who is dearest to her is delighted, and suffers when he is saddened. (688) A virtuous woman is satisfied with the small, About all the dignities of a loved one says, She does not notice any shortcomings, His wealth renders him, He does not become angry, And when he is angry, he dwells in fear, Mastery manifests during lovemaking. (689) He is friendly with his friends, but does not tolerate enemies, looks at the road when he is away , He asks the traveler about him and asks for advice. After hearing this word of the traveler, they praise them, Connecting with the dear, exults, pure in heart, Faithful in love, he desires, These thirty features make A woman's favorite and most expensive. (690) Ananta, the son of the court of Mandana, Knew in this writing signs of a woman, driven by passion. (691) These are the signs of a woman in love in the Sri-Kama Samukh. Now signs indifferent woman. In the face does not look, At a meeting of joy does not seem, file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Without a spark in the eyes, without a smile, or face, And how you touch it, trembles. (692) How to talk to her, interrupt the conversation, How to ask, responds rudely, If you become attached to another, you are not jealous, and therefore do not thirst for attention. (693) In an inappropriate place is anger, When a person kisses, cries, How to touch, hides the bosom And does not flow with moisture. (694). On the bed, turning away, falls asleep before her husband And later he gets up, He does not appreciate a good attitude, And at the slightest offense, she cries aloud. (695) He utters abusive language, His shortcomings reveal to his friends, He is happy when he gets into trouble, And triumphs when he leaves home. (696) He welcomes his enemies, And fosters anger towards friends, On these grounds, the wise An indifferent woman is determined. (697) Shameless, with an evil eye, With a soul full of guile, Arrogant, creative low acts, Knowing shortcomings, full of anger, He will not tell about virtues, Honor never shows, Abundant swearing to cover, rough in speeches, In the separation of alien suffering, And in the connection full of sadness, With another man is confused, A husband does not want to listen. (698) Lover covers, And to the husband of friendship does not feed, And ɫɨɢɬɶɟ with it to it in burden, Can not stand when he kisses her face, Says that his file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

head hurts, She is uncomfortable when he looks at her, And when misfortune happens to him, She is happy, full of unclean thoughts, When the husband touches the body, it shivers, He does his illwills, And his friends are hostile. (699) Later he gets up, sleeps too long, he does not appreciate good in his address, With respect I will not embrace, never art will show in the hour of pleasures of love, In public lies, sleeps, turning away from him on a couch, not having love for him, These are thirty-five signs of a woman indifferent to her husband. (700) Dark-skinned, shameless, bland, unpleasant and rude words, alien to love and fascination, Eating food right from the hearth, standing on the doorstep, During the arrival of guests with servants and kinsmen, a quarrel quarrels, Beating in the wrath of children, how happy will one be to such a young woman? (701) Narrow-eyed, dark-skinned, dirty, ugly, Gluttonous, with a glancing glance, cruel hearted, devoid of shame, Rude in speech, alien to love, doing evil deeds, Where will the happiness of someone who has such a wife in the house be? (702) She is asleep, turning away, During coition, he pretends to be ill And angry for no reason, full of pride - Such a woman is called indifferent. (703) Great in spirit Ananta, full of bliss, In a great poem, a collection of poems, Describes the signs of a woman who is indifferent to her husband. (704) Such is the description of the indifferent woman in Sri Kama Samukh. Now the description of the faithful wife. She is alive while her husband is alive, And dies at the time of his departure, She rejoices, if he is happy, By nature full of love, Who with this noble woman will compare? (705) Whose wife is pure soul, In house affairs is adept, I am ready to follow my husband everywhere, And she is sweet-tongued, only that The wife is called, and no one else. (706) file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Whose wife values virtues, Husband's commands fulfill And even very little satisfied, For that paradise is in this world. (707) Devotion to her husband, compassion for the refuge found, reverence for the father-in-law and mother-in-law, A friendliness to relatives, respect for elders, the ability even of a criminal to forgive, And to the wives-rivals a friendly arrangement, such imperishable prescriptions Noble women should follow, so that the husband can win love. (708) She gets up when the master of the house comes, He hears with words with humility, At his feet, stopping his eyes, he offers the seat and listens to it himself, Let her sleep where he is, and before he leaves the bed, Previously, the wise established these true prescriptions for noble women. (709)

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Who kissed the lotus face of a noble woman, His languid gaze cast down with shame, How can one find pleasure in the mouth of a harlot, Which left a mark of a lot of men? (710)

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

A blind, hunchbacked, a cripple tormented by illness, A chaste woman will never leave a husband who is in trouble. (711) Faithful and obedient, she will not leave her husband's home. Taking care of his good - such a chaste one is called. (712) After washing his feet, she tastes after he ate, And pleasant always says - this chaste is called. (713) She will leave her beloved son and her dear parents, But she will never give up her husband in trouble chaste. (714) The other man will not look And feelings for him will not show, And even seduced, reciprocated does not answer - Such chaste is called. (715) In sorrow or in joy, In the forest or in the palace, Noble women Without hesitation follow her husband. (716) That wife who is skilled at home, That wife who is faithful to her husband, That wife who lives for her husband, That wife, who gives birth to sons. (717) The man to whom she was given by the mother, father or brother, Should be revered to her as a deity, Let him even be deprived of all virtues. (718) Father, husband and son let the woman, respectively, in childhood, adolescence and old age Safely guarded, Otherwise, shame on the family will fall. (719) She goes to bed, after her husband falls asleep, and before he gets up, Tastes, after he ate, And a kinsman honors a pearl among women. (720) Let the young woman do not scold

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Neither husband, nor square, nor relatives of others, And does not accept betel, Another presented, Here is the best of women. (721) Noble women should not walk Neither for a holiday, nor for a square, nor for a road, Ne to go on pilgrimage, Neither to attend performances of storytellers, nor theaters. (722) At the approach of her husband, She stands with respect, And placing his gaze on his feet, He himself offers a seat. (723) When he talks to her, She shames with respect and with respect to him and listens to him politely. (724) Alien in the heart of deception, To her husband and to the square respectfully she, Always humble And to the relatives full of love. (725) Kind to the wives-rivals, Caring about the environment, Among friends of the husband with respect The questioner: "What do they want?" (726) Noble women are forbidden to lighten in the doorways, to gaze at the representation of the actors and at the round windows to stand. (728) Show the body to extraneous men, Play with them, chat and have fun And walk fast Noble women do not fit. (729) First, "No, do not" - she mumbles, But here in her heart a desire is born, Then a timid attempt, covered with shame, And then she loses her stamina, And melting away from love, palimaya zhdeszhalenem, Becomes impudent in the games And freely rubs the body, file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

So more and more joy brings Soitie with a noble woman. (730) Happy is the husband of a faithful woman, her family is happy, And the house, and even see her is happiness. (731) In whose house there is no chaste wife, the House is like a forest thicket, Having received a vicious spouse, A man in hardship somehow spends his days. (732) Only one kind of a faithful and righteous wife, who placed loyalty to her husband with a supreme goal And continuously engaged in the fulfillment of his commands, Cleans from the sins committed before. (733) Born among the townspeople, Son of the courtier Mandana Ananta in the great poem Describes the way of life of a Woman faithful to her husband. (734) This is the description of the faithful wife in Sri-Kama Samukh. Now the description of the slag. They chat with one, At the other they throw fervent glances, And in the heart they think about the third, Who is their favorite? (735) Whose wife with ugly eyes, Grunting dirty, Loving to contradict, then she is Jara, a promising old age and infirmity. (736) What they think, they do not say What they say does not go out, What does not come out, they do not do, Women are surprised with their temper. (737) Beauties of one man are held in the heart, For the other, The third is given the opportunity to chat with them, And with the fourth they enjoy the love. (739) Even being a virgin, alone I did not sleep And the other man, except as a loved one, did not look, Compliance with this family tradition

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Let the Benefactor of the world be satisfied. (740) Eyes builds one, chatters with the second, Walking with the third, and with the fourth enjoying soyaem, Many people this woman, who does she belong to? (741) In women, perverse in heart, one man in the heart, the other in language, and with the third they are near, Such a destiny was inscribed by the Creator in the form of three folds over the navel. (742) A split bed, a faithful husband and a wonderful house - This is contemptuous, like on the grass, Watching women, thirsting for secret loving pleasures. (743) For voluptuous women, the time of the highest bliss comes On a rainy day, when the sky is covered with black clouds, It's difficult to pass through the city streets, And my husband is out of the country. (744) A defenseless young woman, I'm a poor thing, alone in this house, My husband went to a foreign land, What are you asking about? Stop here? My mother-in-law is blind and deaf, O stupid traveler! (745) "The house is empty, in a long absence of her husband, and now it's night, It is not proper to stay here, secretly go away, not seen by people. " When the young woman with the moving gaze of the servant's lips said this to the traveler, He waited a little and exclaimed:" Where to go? In the yard so the night ", remained. (746) Comfortable bed, betel, strong hugs and kisses Can not be compared with one hundred thousandth part From enjoying the secret love affair that lasted a moment. (747) No kind words, no affectionate views, When it is addressed, ejaculates, And hatred feeds to friends. (748) In the separation he rejoices and even pretends not to be jealous, And when the meeting is sad and suffering painfully rubs his face. (749) Having ascended on a bed, quickly falls asleep, From touch tests horror And for kindness does not thank, These are the signs of a woman who is depraved. (750) Joyfully and assiduously collecting poetry poems, Ananta In this

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

collection devoted to love, The behavior of a depraved woman described. (751) So, in "Sri-Kama-samuha" the description of the slag woman is finished. A COMMENT 1. Indrami among the danavas (dAnavendraiH) - danavas is one of the two basic kinds of asuras, the descendants of Kashyapa and Danu, the daughter of Daksha [Hinduism 1996: 160]. Indra in the Puranas and Mahabharata is not so much a personal name as the title, the designation of status: "the king, the leader." Indra, ruling the gods in the current world period, has his own names and specific names for him-epithets: Shakra, Maghavan, Thousand-Century, etc. The expression "Indra among the danavas" is equivalent to the expression "the king of the Danavas," "the first among the danavas" "Indra of the gods" is the same as "king of the gods", "Indra of elephants" - "king of elephants" or "leader of the herd of elephants", etc. [Mahabharata 1987: 609]. The Lord of Obstacles (vighnarAjaH) is the epithet of Ganesha, the son of Shiva, revered as a deity of wisdom and education, eliminating obstacles. Since the appeal to Ganesha, as a rule, Sanskrit texts begin [Hinduism 1996: 138; Myths 1991: 264-265]. kites (ahi ...) - refers to the naga, the mythical half-humanhalf-minded, inhabiting the underworld [Hinduism 1996: 299]. By the grace of Saraswati, people compose verses (sarasvatyAH prasAdena kAvyaM 2. kurvanti mAnavAH) - Sarasvati is the goddess of speech and wisdom, the patroness of scientists and poets. It is portrayed in the image of a beautiful woman dressed in white and with a musical instrument of wine in her hands [Hinduism 1996: 394]. As "verses" the word kAvya is translated, according to Apte, it is "a poem; poetics, poetry, poetical composition "[Apte 1988: 147]. 3. multi- wise (mahAmatInAM) - in Sanskrit texts epithets used to characterize the characters are often a complex word, the first part of which is the adjective mahat (mahA-) "Big, " "great." To this number belong mahAmati "Wise", mahAyashas "the glorious", mahAtejas "Brilliant", mahAbAhu - "powerfull" [Ramayana 2006: 735]. Bharati (bhAratI) is one of the names of Saraswati [Apte 1988: 403], see comments. to ʋ 2. 4. About Lambodara (lambodara, literally "vislruchych") is one of the names of Ganesha (see note on No. 1), depicted with the head of an elephant and a large ball-shaped abdomen [Hinduism 1996: 138]. 5. Maheshvara's son (maheshvara-sunosh) - i.e., Ganeschi, see the commentary. to No. 1. the daughter of the Creator (vidheH sutAyAH) - i.e. the goddess Saraswati, who, in some post-Vedic sources, is the daughter (in others - the wife) of Brahma performing the function of creator of the universe [Myths 1992: 409]. A.Sh. Pathak incorrectly translates as "the daughter of destiny" [Kama Samuha 2008: 47], because the word vidhi has meaning as "creator" and "destiny". 7. guru (guru) is a spiritual mentor in Hinduism [Hinduism 1996: 155]. 8. Lengthening the length of the day and shortening the length of the night is often mentioned in file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Sanskrit poetry in poems dedicated to spring [Ingalls 1965: 110]. The author of this poem resorts to Alankara utpreksha ("neglecting the difference"). According to Dundin, "when the natural nature of an animate or inanimate thing is transformed into something else, it is called utpreksha" ("Kavyadarsha" II.221) (quoted in [Grinzer 1987: 95]). 9. mango (chUta) - in the Indian poetic canon, the mango tree is closely associated with the god of love Kama (a mango flower is one of his five arrows) and is used in many ways to describe a love relationship. The springy mangoes cause special suffering to the languishing lover [Indian lyrics 1978: 200; Ingalls 1965: 110]. champaka (champaka) - Michelia champaca, a kind of magnolia that grows in the eastern foothills of the Himalayas, Assam, Burma and South India. A tall and fast-growing evergreen tree with dark yellow or orange fragrant flowers [Valmiki 1999: 488-489]. From the ducks (ghaTI-yantra ...) - about a wheel of this kind, rotated by bulls and called "Persian," there are no clear references in the early sources, although it may have been used. In addition, water was extracted from the reservoirs by means of a "crane" with a counterbalance [Bash 1977: 208]. 10. Also contained in the "Subhashita-ratna-bhandahar" (136). The southern wind blows (dAkShiNAtyaH prasarati pavanaH) - this image is often found in Sanskrit poetry. In the spring, the wind blows from the south, especially from the Malay Mountains (the mountain range, part of the Western Ghat south of the Kaveri River, including the Kardamonov Mountains), where cool and fragrant sandalwood groves grow, and brings the aroma of sandalwood and other plants, hence its epithet gandha- vAha ("bearing the fragrance"). In the anthology of Vidyakary "Subhashita-ratna-kosha" a special section is devoted to the subject of the south wind (11261142) [Mahabharata 1987: 729; Bhattacharyya 1999: 213; Ingalls 1965: 320; Ingalls 2000: 229-231]. The author of this poem resorts to alankar dipak ("lamp"). Dandin gives this definition of this Alankara: "If one single word expressing a generic concept, action, quality or individual object, serves all the utterance, ornament is called a lamp" (Kavya-darsha II.97) (quoted in [Grinzer 1987 : 82]). In this case, the role of the word expressing the generic action is the "southern wind". Alankara anuprasa is also used (lit. "casting after", corresponds to European alliteration, with the repetition of consonants alone) [Grinzer 1987: 124-126]: lolallATIALAlaka-latAlAsya lIlAvalolaH. Kaveri (kAverI) is a river in South India, the sources are in the Western Ghat on the territory of the modern state of Karnataka. It flows into the Bay of Bengal in the state of Tamil Nadu. It is called Dakshina-Ganga ("southern Ganges"). It was first mentioned in the Mahabharata [Ulciferov 2003: 235; Bhattacharyya 1999: 178]. Karnata (karNATa) is a country located in the south-west of India on the territory of the modern Karnataka State (until 1973 - Mysore) [Ultsiferov 2003: 248]. Lata (lATa) - the country west of the Narmada River, which flows in central India and flows into the Arabian Sea; probably included Baroda and Ahmadabad [Apte 1988: 663; Bhattacharyya 1999: 202-203]. 11. Also contained in the "Subhashita-vali" (1688). Husbands went on business in the dry season, the middle of which was in the spring, and in the spring the anguish of separation reached the highest tension. Sadness in the heroines of the Indian lyrics reaches such a degree that they can file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

even die [Classical Poetry 1977: 816]. The flower -shrouded god (kusuma-vishikha) is the epithet of the god of love Kama, armed with a bow with flower arrows. cuckoo (pika) - a chill or a black Indian cuckoo, her musical singing in Sanskrit lyricism evokes tender feelings and is associated with a loving longing. This bird is most often mentioned in connection with spring [Classical poetry 1977: 840; Monier-Williams 2015: 312]. tu hi (tu hi) - in Hindi means "you are one" [Kama Samuha 2008: 48]. 12. Like a forest fire (dAvAgni-pratimA) - forest fires are a frequent occurrence in India during its very hot and dry summer. In the past, peasants made fires especially, because agriculture was slash-and-burn (Ingalls 1965: 120). The author of the poem resorts to Alankar utraksha ("neglecting the difference"), see comments. to No. 8. In this case, the green foliage is compared to a forest fire. Cool time is in the original shishira, an intermediate season between winter and spring, occurring in January-February. 13. The poem is dedicated to the sufferings of the gopis in separation from Krsna. One of the gopis turns to the other. cuckoo - in the original kala-kaNTha, lit. "Sweet-eared" [Apte 1988: 138], see comments. to No. 11. Kinshuka (kiMshuka) - into the tree of Butea frondosa. From January to March is covered with a mass of orange and bright red flowers, which are very fond of birds. In Sanskrit literature with flowers, kinshuki often compare the wounds of warriors they received in battle, and the marks of nails that a man leaves on his loved one's body. D. Ingalls calls kinshuku one of the most beautiful Indian trees [Valmiki 1999: 485; Ingalls 1965: 111; Ingalls 2000: 88-89]. mango (sahakAra) - see the comment. to No. 9. Krsna is in the original madhu- pati, this is one of Krishna's epithets [Apte 1988: 421]. 14. See the comment. to No. 11. 15. Source: "Shishupala-vadha" of Maghi. broadsword (palAsha) - the same as the kinshuka, see comment.. to No. 13. 17. Also contained in the "Subhashita-ratna-bhandahar" (15). beauties, / Tomish desired by separation (viyukta-rAmAtura) - see comments. to No. 11. It appeared, like Hanuman, by kissing the flowers (maruch-chumbita-puShpa <...> hanuman ivAgataH) - in Hindu mythology the divine monkey Hanuman, being the son of the wind god Vayu, had the ability to fly through the air, hence comparing the unexpected arrival of spring with the phenomenon of Hanuman [Myths 1992: 577]. 18. The incorporeal feast (ana ~ NgotsavaM) - The incorporeal is the epithet of the god of love of Kama. According to the legend, Shiva incinerated Kama with fire from the third eye because he, on behalf of the gods, was trying to arouse in him a passion for the beautiful Parvati (see the poem Kalidasa "Kumara-sambhava" (3)) [Classical poetry 1977: 36-45 ; Ingalls 1965: 150]. In the spring, when mango shoots appeared, all over India celebrated "Madana" or Vassantotsava ("spring festival") - a holiday in honor of Kama, which had the character of orgiastic revelry. During this holiday, all the prohibitions and restrictions that governed the love relationships in everyday life were lifted, and the most notable girls danced before everyone [Indian lyrics 1978: 12-13; Bhattacharyya 1999: 287]. vrajian beauties(vraja- sundarIbhiH) - meaning the shepherdess - the beloved of Krishna. Vraja (Braj) is a place near Mathura where Krishna spent his childhood and youth [Hinduism 1996: 79; Apte 1988: 542]. Aroma of love - the original shR ^ file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

iNgAra, one of the races, erotic love. In Sanskrit poetics, the race is a certain emotion caused by a poetic text, except for the mentioned shR ^ i ~ NgAra, there were eight to ten races: vIra heroism, bIbhatsa - disgust, raudra - anger, hAsya - joy, bhayAnaka - fear, karuNa - pity, adbhUta - surprise, shAnta - calmness and vAtsalya - parental love. For more details on the races, see [Alikhanova 1974: 34-39; Indian Philosophy 2009: 681-684]. 19. Mango (chUta) - see the comment. to number 9. flower onion (kusuma-kArmuka) - ie. onions of the god of love of Kama. sweat with beautiful breasts / After enjoying with your loved one (suratAnta-kAnta-kAntA-kuchAnta-rata-ra ~ Ngita) - according to D. Ingolls' remark, the constant mention of sweat in describing a love relationship to a European will seem completely alien to poetry, but for the Indian poet sweat testifies about sincerity and strength of feelings [Ingalls 1965: 192; Ingalls 2000: 199]. the right thief - in the original dharma-chauraH. 20. Enjoying the buds of mango cuckoos and parrots (shukaH pikaM chUta-latA ~ NkareNa bhraman mudArAgam) - cuckoo and parrots love to eat mango buds. The king of spring (vasantarAjaH) is the word "spring" in Sanskrit of the masculine gender, and this time of year is personified in the guise of a beautiful young man, Kama's companion, while we are accustomed to perceive the spring as a beautiful girl, which creates a certain difficulty in translating and perception. Like the incorporeal, the body gained (ana ~ Nga-mUrtimato'na ~ Ngasya) - see the comment. to No. 8. 21. He wants to see the mango buds in the cuckoo's beak (chUtA ~ NkurAn ichChati kokilAsye) - see comments. to No. 9, 11, 20. Vasanta (vasantaH) - in this case the word vasanta "spring" is left without translation, since it is a question of personifying the spring in the image of a beautiful young man, see the comment. to ʋ 20. palasa (palAsha) - see comment.. to No. 13.16. 25. Mango (sahakAra) - see the comment. to No. 9. Kinshuka (kiMshuka) - see the comment to No. 13. Ashoka (ashoka) - Jonesia asoka or Saraca indica, a small evergreen tree abundantly blooming with orange-purple flowers, forming inflorescences. The flowering period is January-February. Has a dense dark green foliage, which is used to decorate the ears. Ashoka is associated with the ancient rituals of fertility. According to the belief, ashoka blossoms only from the touch of a young woman's foot. In mythology, the Buddha was born under the Ashok tree, and Ravana kept Sita imprisoned in the Ashok grove. Wreaths of Ashoka flowers were produced already in the times "Kama Sutra" (I.4.4.42) [Valmiki 1999: 481; Ingalls 1965: 111; Ingalls 2000: 89; Shastri 2010: 198]. naga (nAga) - Mesua ferres, a small tree [Valmiki 1999: 486]. jasmine - in the original mAgadhi, a kind of jasmine [Apte 1988: 433]. The supreme husband (parama-puruSha) is the epithet of Vishnu. 26. The King of Spring (rAjA vasanto) - see comments. to the No. 20. Friend of the Owner of five arrows (pa ~ ncha-sharasya mitraM) - the personification of Vasant's spring acts as a Kama companion, with five arrows: drAvaNa ("defiant"), sHoShaNa ("withering"), bandhana ("enslaving" ), mohana or saMmohana ("confusing") and AkarShaNa ("attracting"). 27. Sharada (shAradA) - in this case one of the names of the goddess Saraswati [Myths 1992: 409], see the commentary to No. 2. file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

28. kadamba (kadamba) - the tree of Nauclea cadamba or Anthocephalus indicus, blooms in the rainy season and in the poetic canon is associated with erotic symbolism [Indian lyrics 1978: 194; Mahabharata 1987: 795; Ingalls 1965: 126]. 29. fountain - in the original dhArA-yantra, according to the dictionary Apte, this complex word is translated as "fountain, jet (of water)" [Apte 1988: 272]. sandal (shrI-khaNDa) - a tree whose wood and flowers are distinguished by a strong aroma. It grows mainly in South India [Bhartrichari 1979: 118; Bash 1977: 209]. kanchuk (ka ~ nchuka) - lightweight women's clothing covering the chest and shoulders. This word was also called simply a wide ribbonbodice, which tightened the chest and tied on the back. Was part of the subjects closely associated with the erotic appeal of women. In Kashmir, the word "kanchuk" could also refer to clothing covering the body from neck to toe [Indian lyrics 1978: 205; Ingalls 1965: 165; Ingalls 2000: 129; Shastri 2010: 136]. 30. palm wine - in the original tAlI, from tAla, fan palm or palmira, Borassus flabelliformis. It grows in coastal areas. From it , a kind of sugar is obtained, from which palm vodka (toddi) and arak are produced by fermentation. The use of various types of wine was widespread throughout medieval India. In particular, the popularity of wine drinking in Kashmir is evidenced by Damodaragupta [Bash 1977: 209; Valmiki 1999: 488; Shastri 2010: 132]. tilak (tilaka) - a sign applied to the body, most often on the forehead, and indicating a certain status of the individual. It is carried out with the help of paint, varnish, various pastes (including sandalwood), as well as ash from the burning of cow dung [Hinduism 1996: 417]. In this case, we are referring, probably, to tilak, made with sandal paste, which was considered a means, saving both from the heat, and from the love fever. This pasta was prepared from sandalwood powder, finely powdered, often stained with varnish and other dyes, and then it was used to make it whole body or put it in the form of patterns [Bash 1977: 229; Ingalls 1965: 120, 508]. 32. The cold-radiant Moon (shItAMshu) - the light of the Moon is considered cool. 33. Mirage - in the original mR ^ iga-tR ^ iShNA, lit. "The thirst for game" [Apte 1988: 445]. the whole world is like a forest fire (dAvAgni-sadR ^ isho bhavaH) - see comments. to No. 12. 34. Increase in bile and blood pressure (pitta-raktam) - according to the views of Ayurveda traditional Indian medicine - the vital activity of the human body is provided by the interaction of three bodily fluids: vata (vAta, corresponds to the humor of wind in Hippocrates), pitta (corresponds to bile humor) and kapha (kapha, phlegm). In a state of balance, these three fluids act like a tridhata (tridhAtu, the letter "three elements"), and in that case the person is healthy, and when their balance is broken, he falls ill. In addition, eight other elements (bhUta) are added to the main fluids, including blood (rakta) [Indian Philosophy 2009: 132-133]. 35. Also contained in the "Subhashita-ratna-bhandahar" (352). Sandal on the bodies (chandanam a ~ NganAnAm) - in the summer various methods of cooling were used, one of them - sandal paste [Basham 1977: 229; Ingalls 1965: 486], see comments. to No. 30. 36. Also contained in the Subhashita-ratna-bhandahar (357) and Subhashitratna-kosh (251) [Indian lyrics 1978: 174; Ingalls 1965: 133]. The poem is attributed to Panini. Shruti (shruti) - a type of Hindu sacred texts, divided into four classes: 1). Veda, 2). 38. brahmana, 3). aranyaki, 4). the Upanishads. Shruti as a sacred revelation, transmitted through the file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

wise rishis, is opposed to smriti - the sacred tradition. moloditsa - in the original taruNI, the socalled young women [Indian lyrics 1978: 205]. According to Apt, this is "a young or youthful woman" [Apte 1988: 231]. 39. Also contained in the "Subhashita-ratna-bhandahar" (358). Along with spring, the rainy season in the Indian poetic tradition is the time of love, and separation at this time of year is especially painful for lovers. On women, whose husbands or beloved were at this time away from home, the rain acts like a snake poison: it causes them a morbid state, which, all aggravated, leads to death [Anandavardana 1074: 227-228, 238]. flowers in the abundance of jasmine (sphuTati jAti-latA kusumAkare) - jasmine blossoms are often mentioned in verses dedicated to the rainy season [Ingalls 1965: 126]. 40. A house full of voices - in the original pAdukA-pUrNa-mandiram, lit. "A house full of shoes" (pAdukA is "wooden shoes" [Apte 1988: 331]), which means that all family members are at home. ancient legends - in the original purANaM, which literally means "byl". 41. Drink beverage - in the original kAdambarI. Apte gives such meaning to this word: 1. spirituous liquor distilled from the flowers of the Kadamba tree; 2. spirituous liquor or wine in general [Apte 1988: 142]. kadamba (kadamba) - see the comment. to No. 28. ten sides of the world (dishodasha) - in the Sanskrit texts there are ten sides of the world, 42. each of which is associated with a separate deity, which is considered its guardian: Indra - east, Varuna - west, Yam - south, Kubera - north, Surya - west, Soma - northeast, Agni - southeast, Vayu - northwest, zenith - Brahma, nadir - Vishnu-Narayana [Biruni 1995: 264 - 267; Hinduism 1996: 256]. 44. Also contained in the Subhashita-ratna-bhandahar (358). A source: "Shringara Shataka" (66) Bhartrihari [Bhartrichari 1979: 86]. The poem is attributed to Ratimitra. The clouds serve as a kind of a signal for the return of those who left for work to return home. A similar situation is played out both in folklore and in poetry [Ibid: 117]. On the topic of love longing during the rainy season, see also the comment. to No. 39. 45. Smara ("love") is one of the names of the god of love of Kama [Apte 1988: 628]. 46. Govardhana (govardhana) is a hill in Vrndavana, the place of Krishna's triumph over Indra, which symbolized the decline of the cult of the Vedic gods and the emergence of a new KrishnaVishnu cult. When Indra tried to flood Vrndavana together with people and livestock, Krishna raised the hill above its inhabitants and held it for seven days, as a result of which Indra was forced to retreat (Bhagavata Purana X.25) [Srimad-Bhagavatam 2010: 371-394]. 47. Source: "Shringara-shataka" by Bhartrihari. 48. Also contained in the Subhashita-ratna-bhandahar (188.19). The poem is attributed to Vishamaditya. Atasi (atasI) - blue flax Linum Usitatissimus. 50. Source: "Raghu-vamsha" (19.38) Kalidasy. The amorous entertainments of the king Agnivarna, belonging to the Solar dynasty [Kalidasa 1996: 310], are described. 52. to the full-breasted beauties guarding the rice field (shAlI-gopI-vikaTata-TAh-bhogabhogAbhirAmAH) - in autumn peasants and especially young women (taruNI) protected rice and sugar cane fields from birds and animals [Indian lyrics 1978: 6; Ingalls 1965: 136; Ingalls 2000: 106]. saptaparNa - Alstonia or echites scholaris, seven-leaved tree [Valmiki 1999: 487; Shastri file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

2010: 200]. 54. against bile and blood pressure (pitta-shoNita-saMyukte) - see comments. to No. 34. 55. A garland of fragrant jasmine flowers (parimala ... mAlatI-puShpamaAlA) - this is jasmine mAlatI, which has fragrant white flowers [Apte 1988: 437; Shastri 2010: 199]. swinging on a swing ... an ardent woman (cha ~ nchalA chApi dolA ... kAminI) - using a swing for a love game is known in the Indian erotic tradition, since the act of swing itself recalls, perhaps, the movement of love. In Maharashtra, during a holiday in honor of the Kama "Madana", women swung on a swing (see comments on No. 18). Hindustans from the third day of the month of Chaytra during the month celebrate the feast of the Hindolee Chaitur - the chantry of the swings. During this holiday, believers swing on a swing image of the deities. The rituals of this holiday are connected with agrarian magic. This is evidenced by the construction of the swing of the deity (their most important element is the pole or tree to which they are attached - probably a symbol of the world tree) [Indian lyrics 1978: 12-13; Kotin 2005: 29-30]. Biruni writes that on this feast the believers "meet in Vasudeva's devagogue and pump his idol as they did to him when he was in the cradle as an infant. The same thing they do all day in their homes and indulge in fun "(quoted in [Biruni 1995: 487]). Another holiday, during which swings are used, is gangour (gangauri, gauratar), celebrated in honor of the goddess Parvati on the third day of the month of Vaishakha (April-May) [Indian holidays 2005: 37-40]. Biruni reports that on the occasion of the Gauratar, "women are washed, dressed and worshiped with an idol, before which they light fixtures and bring incense, abstain from food and swing on a swing" (cited in [Biruni 1995: 487-488]). 56. Source: "Shringara-shataka" by Bhartrihari (97) [Bhartihari 1979: 90]. dressed in rdan clothes (mA ~ njiShTha-vAso) - according to the dictionary Apte, mA ~ njiShTha means "red as madder" [Apte 1988: 433]. Therefore I.D. Serebryakov is not right, translating: "dressed in colored clothes" [Bhartrichari 1979: 90]. With bodies cajuned with saffron from Kashmir (kAshmIra-drava sAndra-digha-vapuShaH) - saffron is a powder of yellow, orange orbright red color, obtained from dried stigmas of saffron seed (Crocus sativus) [Ingalls 1965: 519]. Kashmir (kAshmIra) is a historical region in the north-west of Hindustan, now divided into the Indian state of Jammu and Kashmir, the self-proclaimed unrecognized state of Azad Kashmir, actually part of Pakistan, and a small territory controlled by China. With nuts and betel leaves in the mouth (tAmbUlI-dala-pUga-pUrita-mukha) - we are talking about walnut nuts with light narcotic properties, which are mixed with ground lime and other ingredients in a crushed form, wrapped in a betel leaf (kind of pepper, Piper betel) and chew after eating, and this whole mixture is called betel [Bash 1977: 209; Shastri 2010: 149-150]. 57. Leaves of betel (tAmbUla) - see comments. to No. 56. 58. Sputum and wind prevail in the body (kapha-vAtayoH) - see comments. to No. 34. 59 Also contained in the "Subhashita-ratna-bhandahar" (363.1). 62. betel leaves (tAmbUlaM) - see comments. to No. 56. 63. It is also contained in the Subhashita-ratna-bhandahar (351.5). deprived by Destiny - in the original daiva-daNDitAH. In the opinion of Academician B.L. file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Smirnova, the concept of fate or destiny (daiva) does not carry a fatalistic character in the Hindu worldview and does not correspond to the concept "Moira" of the ancient Greeks. Moira, as he points out, is an inexorable and blind force, to which the gods are subject. Daiva is a particular modification of karma, individual karma, flowing out of perfect deeds, and therefore, fair, and not blind power [Bhagavad Gita 1994: 293-294; Mahabharata 1984: 175]. However, in my opinion, BL. Smirnov is mistaken, since he regards the Hindu worldview as something frozen, without taking into account his historical development. The point of view of Ya.V. Vasilkov, who contrasts the fatalistic conception of the dive with the concept of karma, which, he believes, is a later phenomenon [Mahabharata 1998: 142]. 65. Also contained in the "Subhashita-ratna-bhandahar" (361.4). 66. Wind and sputum predominate in the body (vAta-shleShma-prayogeNa) - see comments. to No. 34. 67. A playful wind ... bringing the fragrance of mango from the Malay Mountains (lIlAyate malayAchala-cUta-mAlAn drAvAti mAruta) - see comments. to No. 9,10. 68. The owner of five arrows (pa ~ ncha-vishikho) - see comments. No. 26. 70. Grasped by the Kama's arrows (kAmasya bANaiH paripIDitA) - see comments. to ʋ 26. At night, not unknowingly connecting with her husband (naktaM mitho bhartur amoghasaMgame lebhe) - in dharmashastra, only nights were prescribed for conception, and daytime time was forbidden (Yajnavalkya-smriti 1.70). The reason for this was the idea that the life force of someone who connects with his wife in the afternoon, disappear. "Verily, those who unite in love in the daytime shorten their (their) breath; those who unite in love at night are abstained " (Prasna-Upanisad 1.13) [Pandey 1990: 73]. 71. Source: "Kumara-sambhava" (1.25) Kalidasy [Classical poetry 1977: 28]. 72. Lakshmi (lakShmI) is the goddess of beauty, wealth and happiness, the consort of Vishnu. Usually depicted as a beautiful woman sitting on a lotus and with a lotus in her hand [Hinduism 1996: 253]. Murari (murAri) is the epithet of Vishnu and Krishna [Apte 1988: 443]. Bhavani (bhavAnI, lit. "real") is one of the names of the wife of Shiva Parvati [Apte 1988: 401]. you did not give me a thousand eyes (karoShi kiM nu vadane cakShu sahasraM) - a hint at the famous myth that, Indra found a thousand eyes. Once upon the will of the gods, the beautiful heavenly maid Tilottama was created, which the gods themselves admired when she walked around their collection, and kept following her eyes. Indra alone stood with Shiva, but as the first one too much yearned to look at her, he had a thousand eyes (Mbh I.203.20-27) [Mahabharata 1992: 531; Myths 1992: 512]. Source: "Kumara-sambhava" (1.29) Kalidasy [Classical poetry 1977: 28]. Mandakini 73. (mandAkinI) is the sleeve of the Ganges, flowing through the valley of the Kedaranatha in the Himalayas, in the northern part of Garhwala [Mahabharata 1996: 297; Bhattacharyya 1999: 214]. Like pleasure in found (krIDA-rasam nivashatIva) - in fact, Parvati was wise with the experience of a past life and only imitated the behavior of children [Classical Poetry 1977: 812]. 74. Source: "Kumara-sambhava" (1.31) Kalidasy [Classical poetry 1977: 28]. wine (Asava) according to Apte, Asava is "any spirituous liquor" [Apte 1988: 90]. file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

75. Kalindi (kAlindI) is another name for the Yamuna River (present Jamna), the right tributary of the Ganges, flowing into it near the town of Prayag (Allahabad) [Ultsiferov 2003: 178; Bhattacharyya 1999: 165]. 76. The bed, plastered with lotus petals (padma-kandala-dalI-talpaM) - cf. with the image of a bed strewn with rose petals, in the European romantic tradition. the house of pleasures (rati ... gR ^ ihe) - the so-called bedroom [Indian lyrics 1978: 5]. Saurashtra (saurAShTra) is another name for Anarta, an ancient country in the territory of Gujarat and the adjacent part of Malwa. The name Surasthra (surAShTra) is mentioned in the inscriptions of the Satawahans, a dynasty that ruled the central regions of the Deccan for about 450 years (III century BC-III century AD) [Mahabharata 1987: 726]. a friend of Smara (smara-suhR ^ it) - see the comment. to No. 45. 77. It is understood that although Shiva also burned Kama from the third eye with fire, Parvati eventually managed to achieve the love of the Great God and become his wife, see the comment. to No. 18. This is told in the poem Kalidasy "Kumara-sambhava" (V) [Classical poetry 1977: 45-54]. Kama is in the original manasi-jaM, lit. "Born in the heart", this is one of the epithets of the God of love. 79. champaka (champaka) - see comments. to No. 9. cancan (ka ~ NkaNa) - a bracelet worn between the shoulder and elbow, closer to the elbow [Mukundoram 1980: 215]. rainbow - in the original indra-chApa, lit. "Onions of Indra" [Apte 1988: 94-95]. Of the three strands braided braids (trigumpha-veNI) - Indian women usually braided hair 80. in a braid or tied in a bun; appearing in public with loose hair was considered indecent, since the harnessed hair testifies to the conformity of social conventions and the acceptance of the control of society. Hair was disbanded only during menstruation or after the death of a close relative. Note that the goddess Kali is portrayed with her hair loose [Kinsley 2008: 111-113]. In this case, we are talking about veNI - an ordinary spit that moved freely, as opposed to dhammilla (dhammila) - to hair tied in one large bundle [Apte 1988: 268; Shastri 2010: 147] (mentioned in Nos. 314, 385, 588). kankana (ka ~ NkaNa) - see the comment. to No. 79. Madana ( lit. "Heady", "crazy") - one of the names of Kama. Source: Subhashita-ratna-bandagara (269.2). white lotus - in the original kahlAra, a flower 81. of a white water lily [Valmiki 1999: 484; Apte 1988: 181]. Manmatha (mAnmatha, literally "embarrassing soul") is one of the names of the god Kama. 82. Jasmine - in the original mallika, jasmin Jasminum arborescens with white terry flowers, similar to small roses [Indian lyrics 1978: 199; Shastri 2010: 199]. 83. deer (chamaryaH) - according to Apte, chamarI is a female of the deer species [Apte 1988: 205]. Also contained in the "Subhashita-ratna-bhandahar" (270). The poem is attributed to 84. Singapore. 85. Amrita (amR ^ ita) is a divine drink of immortality in Hindu mythology [Hinduism 1996: 51-52]. Also contained in the Subhashita-ratna-bhandahar (269). The poem is attributed to 87. Varuruchi. Also contained in the Subhashita-ratna-bhandahar (271.49). The poem is attributed to 88. file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Bhasa. sandal -in the original chandana-patra-lekhA, according to Apta, patra-lekhA are drawings made on the body, especially on the face of sandalwood, musk or other fragrant substance [Apte 1988: 312]. Ingalls writes that such drawings were applied to cheeks and breasts with musk, saffron and turmeric, most often depicting a dolphin - the mount of the Kama [Ingalls 1965: 498]. the god of love - in the original ana ~ Nga, which means "incorporeal", see the comment. to No. 18. 89. Also contained in the Subhashita-ratna-bhandahar (271). 90. Rahu(rAhu) is a demon of the solar and lunar eclipses. According to legend, Rahu the only one of the Asuras, having taken on the form of a god, was able to taste the amrites, when the gods took possession of her after churning the ocean (see commentary on No. 85). But the Sun and the Month recognized him and gave out Vishnu, who cut off Rahu's head before he could swallow amrita inside. The demon's head, becoming immortal, ascended to heaven and since then has been revenging the Sun and the Month, swallowing them periodically - this is how the phenomenon of eclipses was explained [Hinduism 1996: 364-365]. The meaning of the poem is that the tilak will give the girl's face a resemblance to the Moon, because there are spots on the lunar disk, and the Rahu demon will swallow it by mistake. In Sanskrit poetry and mythology, there are a large number of interpretations of the origin of sunspots on the Moon: a gazelle living in the moon disk, a hare, dust, drops of poison, traces of shock, etc. [Grinzer 2008: 540]. 91. Also contained in the "Subhashita-ratna-bhandahar" (271.49). After conquering two worlds / Ready to invade heaven (vijitya loka dvitayaM divaM pratismareNa bANo dhanuShIva yojitaH) we are talking about the three worlds of traditional Hindu cosmography: the sky (svarga), the earth (bhUmi) and the underworld (pAtala) [Indian philosophy 2009 : 794-795; Mahabharata 1996: 278; Ramayana 2006: 733]. 92. musk / From the navels of deer (mR ^ iganAbhijaM) - according to popular belief, deer in navel have musk [Classical Poetry 1977: 813]. in young beauties - in the original pramadA ..., according to Apte, this word denotes a young beautiful woman [Apte 1988: 365]. 93. White lotuses force to unfold (bodhayan ... kumudAni) - in Sanskrit kumuda it is a white water lily, which is also called the lunar lily, for it dissolves with the rising of the moon, unlike other lotuses blossoming with the sunrise [Valmiki 1999: 485; Apte 1988: 154; Shastri 2010: 199]. Also contained in the "Subhashita-ratna-bhandahar" (271). The poem is attributed to 94. Kalidas. Also contained in the "Subhashita-ratna-bhandahar" (272). The poem is attributed to 95. Sharngadhara. Also contained in the "Subhashita-ratna-bhandahar" (272). The poem is attributed to 97. Sriharsha. Her eyes tanned by antimony (tad-IkShaNe / a ~ njanAchite) - Indian women widely used eye dye made from powdered black antimony, besides it was believed that it not only makes the eyes more beautiful, but also protects them from inflammation [Bashem 1977 : 229; Shastri 2010: 152k]. wagtail (kha ~ njana) - a small bird with a white breast and black wings, living along the banks of rivers [Ingalls 1965: 136; Ingalls 2000: 106]. With the wagtail, the eyes of the beauties are often compared . file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

98. Burned by Pinakin / Kama in dark ashes turned (dagdhaH pinAkinA kAmo maShI-rUpeNa saMsthitaH) - Pinakin is the epithet of Shiva, the owner of the Pinak bow (pinAka). On the burning of Shiva Kama, see the comment. to No. 18. 99. Also contained in the "Subhashita-ratna-bhandahar" (290.12). 100. Also contained in "Subhashita-vali" (2248), "Shringara-shataka" (74) Bhartrihari [Bhartrichari 1979: 87]. 102. For the Indian erotological treatises, beginning with the "Kamasutra," the opposition of the "townspeople" (nAgaraka) and the "village resident" (grAma-vAsin) is characteristic. The citizen is an example of normative behavior, including in love. The villager also resembles a "rough peasant" in European chivalric novels, but can correct himself by imitating a townsman [Vatsyayana 1993: 28]. 103. Source: "Shringara-shataka" (13) Bhartrihari [Bhartrichari 1979: 79; Indian lyrics 1978: 136]. In this poem with a bow, the eyebrows of a young innocent girl are compared, from under which the arrows of coquettish gazes fly. About the young simpleton - in the original mugdhe, according to Apte, is a young girl, fascinating with her maidenly naivety; is considered as a kind of nAyikA in poetry. mugdhA is contrasted with prauDhA - an adult woman with a love experience [Apte 1988: 441; Ingalls 1965: 509]. 104. Source: "Shringara Shataka" (70) Bhartrihari [Bhartrichari 1979: 87; Indian lyrics 1978: 132]. 105. The author of this poem resorts to alankara rupaka. Dandin, giving her a definition, calls it "a comparison in which there is no distinction [between the subject and the object]: for example, hands-liana, palmlotuses, legs-shoots ("Kavya-darsha" II.66) [Grinzer 1987: 77-82]. The dolphin -sign (makaraketu) is one of the epithets of the god of love of Kama, on whose banner the dolphin (makara) is depicted. D. Ingalls translates the word makara as "crocodile" or "fish" [Apte 1988: 415; Ingalls 1965: 149]. 109. Source: commentary on "Kuttani-mate" (147). 110. white lotus (kairava) - a lotus of white color, opening at the rising of the Moon [Apte 1988: 164], cf. with comments. to No. 93. 111. Source: "Shringara-shataka" (11) Bhartrihari [Bhartrichari 1979: 79; Indian lyrics 1987: 136]. 112. Also contained in the Subhashita-ratna-bhandahar (272). 114. Also contained in the "Subhashita-ratna-bhandahar" (273.115). The poem is attributed to Bilhana. 115. Also contained in the Subhashita-ratna-bhandahar (121). Even full nectar, the moon is doomed to disappear (sudhA-mayo'pi kShaya-roga-shAntyai ... chandraH) - according to traditional beliefs, the moon diminishes from the fact that the gods and the ancestors in the kingdom of Yama drink amritus (nectar) from it (see comments. to No. 85), from which it consists, and then the Sun again fills the Moon with it [Temkin 1982: 33]. 116. champaka (champaka) - see the comment. to No. 9. Kuvalaya (kuvalaya) - a blue water lily [Apte 1988: 156]. file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

118. Also contained in the "Subhashita-ratna-bhandahar" (138). 119. Also contained in the "Subhashita-ratna-bhandahar" (139). Sweets of lips like the bimba of fruits (bimbAdhara-rasAsvAdo) - bimba is a plant of 120. Momorfica monadelpha, which brings bright red fruits, with which the lips of beauties are usually compared [Valmiki 1999: 482; Apte 1988: 392]. 122. venerable women (purandhrINAM) - according to Apte, purandhrI is an adult married woman, a venerable matron [Apte 1988: 341]. lute - in the original vipa ~ ncInAM [Apte 1988: 514]. 123. In Indian erotology, a man and a woman, indulging in a love affair, should abundantly reward each other with wounds from nails and bites. Thus, the pain releases the accumulated sexual energy. The very bed of love is seen as a battlefield [Efimenko 1996: 65]. Vatsyayana devotes two scratches and bites to her "Kamasutra" - II.4.10; 5.11 [Vatsyayana 1993: 67-69]. According to him, "there is no other way more suitable to strengthen the attraction, like the actions performed by nails and teeth" (quoted in [ibid .: 69]). nakha-vilekhana - scratching with nails - differs in the place of application and the traces remaining on the body. In total there are eight kinds of scratches applied to the chest, back, shoulders, next to intimate places. Some are innocent enough, like, for example, ardhachandra - a crescent-shaped scratch that is applied with an evenly rounded fingernail, others are deep enough and extensive ("tiger claw", "peacock's track", "hare jump"). With regard to biting teeth (dashana-Chediya), then Vatsjana distinguishes eight species, starting from a "hidden bite" that causes only temporary redness, such as "boar bite", leaving a chain of deep traces from the shoulder to the woman's breast. Accordingly, poetry often mentions similar wounds [Ingalls 1965: 199-200]. Similar to the bimba (bimba ...) - see comments. to No. 120. 124. Also contained in the "Subhashita-ratna-bhandahar" (273). 125. The author of the poem resorts to Alankara Vyatireka ("discrimination"). Dandin gives this definition of this Alankare: "When the similarity between two things is conveyed in words or implied, but then their difference is indicated - it is about Vyatirek" (Kavyadarsh II.180) (quoted in [Grinzer 1987: 88]). About the similarity of lips and coral (vidrumAdharayoH sAmyaM) - a comparison common in Sanskrit poetry, is also found in European literature. 126. See comments. to No. 123. 127. See comments. to No. 123. 128. Chakors, feeding on the rays of the ascending moon of her face (chakorA udyan-mukhendor api) - chakora is a bird Perdix rufa or Genus alectoris, Indian partridge. According to the belief, her eyes are clouded with the poisoned food, and the only food she can consume, without fearing that poison is mixed with her, is the moonlight emanating from the amrita [Bhartrichari 1979: 116; Classical poetry 1977: 840; Mahabharata 1987: 796; Ingalls 1965: 272, 532]. 130. Also contained in the "Subhashita-ratna-bhandahar" (275) and "Subhashita-ratna-bhandahare" (458) [Indian lyrics 1978: 161; Ingalls 1965: 177]. The poem is attributed to Sriharsha. As Yu.M. notes. Alikhanov, after the IX. traditional comparisons (for example, a comparison of a beautiful woman's face with the Moon) are often wittily played out file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

[Indian lyrics 1978: 57]. Cold-blooded (shIta-dyuti) - that is, the Moon, see comments. to No. 32. His disc creates and creates and again destroys (Atma-bimbaM nirmAya nitmAya punar vibhartti) - about another, mythological version of the explanation of the growth and decrease of the moon, see the comment. to No. 115. 131. It is also contained in the Subhashita-ratna-bhandahar (275) and "Subhashita-ratna-kosh" (498) [Indian lyrics 1978: 179; Ingalls 1965: 185]. On playing in the poetry of traditional comparisons, see the comment. to No. 130. 132. blue lotus - in the original indIvara, plant Asparagus racemosus, a flower of blue color [Mahabharata 1987: 795; Apte 1988: 94]. all kinds of feelings in love (sakala-surata-bhAvair) according to Apte, one of the meanings of bhAva is "amorous gesture or expression of sentiment, gesture of love" [Apte 1988: 403-404]. This term is found in theatrical literature and poetics, under the bhAva, otherwise known as "stable feelings" (sthAyIbhAva), there are nine basic emotional states that can last for a long time: love (rati), laughter (hAsa), sorrow (shoka) , heroic inspiration (utsAha), anger (krodha), fear (bhaya), aversion (jugupsA), surprise (vismaya) and the feeling described by Anandavardhana as a state of bliss arising from the release of life's lust (tR ^ iShNAkShayasukha) [Anandavardhana 1974: 215]. It is also contained in the Subhashita-ratna-bhandahar (274). on a coral tree - in the 134. original pravAla [Apte 1988: 364]. 135. Also contained in the Subhashita-ratna-bhandahar (326). The author of the poem refers to the Alankara prakhelika ("riddle") [Grinzer 1987: 131-132]. about the young simpleton (mugdhe) - see the comment. to No. 103. Two blue lotuses (indIvara, see comments on No. 132) mentioned in the text are the eyes of a girl. 137. The author of the poem resorts to the Alankar anupras (see commentary on No. 10): lalanAlochanAnAM tu lAvaNyaM. Also contained in "Subhashita-vali" (1361). Mumbling: "No, do not!" (MAmenti 138. mandAkSharaM) - Indian erotology attaches great importance to the "sound background" of the love game. V.A. Efimenko cites the opinion of one of the ancient authors who "thought that a young woman who, in the heat of passion, screams" Oh, oh! Do not! Mama! ", Pronounces mantras, lighting a lamp before the god of love" (quoted in [Efimenko 1996: 66]). 139. With lips red from betel (tAmbUla-raktoShTha ...) - see comments. to No. 56. Also contained in the "Subhashita-ratna-bhandahar" (276). The poem is attributed to 140. Kalidas. The connection of a necklace with a woman's breast is often emphasized in Sanskrit poetry [Shastri 2010: 142]. 141. The author of the poem resorts to Alankara Vyatireka, see comments. to ʋ 125. 142. An ardent beauty (bhAminyAH) - according to Apte, the word bhAminI means 1) a beautiful young woman, 2) a passionate woman [Apte 1988: 403]. the god of love is in the original mAra [Apte 1988: 436]. It is also contained in "Subhashita-vali" (1529) and "Subhashita-ratna-bhandagar" 143. (276.224). gentle hands - in the original bAhupAshasya, lit. "Hand-loop" or, according to Apt, file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

"the arm thrown round, as in the act of embracing" [Apte 1988: 391]. 144. This woman is a lotus - in the original tat-padminyAH. padminI (lit. "Lotus") is a woman who represents the first of the four classes in the classification, which is first encountered in Rati Rahasya by Kokkoki. It is described as the best of these types. In further upominanaetsya in "Pancha-Sayak", "Ananga-rank" (I.2.1-5), "Smara-dipike" and "Rati-ratnadipike" (1.3-10) [Vatsyayana 1996: 146; Apte 1988: 315; Bhattacharyya 1975: 107; Ratiratnapradipaka 2005: 1-3; Sacred Sexuality 2013: 5]. 146. Like a banana trunk (kadalI-garbha-samAnA) - a banana palm (Musa sapientum) has a soft, smooth, rounded and unstable stem, it compares hands and thighs of beauties, and it also serves as a poetic a symbol of the impermanence of earthly existence [Valmiki 1999: 483; Ingalls 1965: 515; Ingalls 2000: 128]. In the opinion of Yu.M. Alikhanova, in some cases the word kadalI may be designated as some herbaceous plant, blooming in the rainy season with white, perhaps quickly falling colors [Indian lyrics 1978: 197]. 147. Source: "Kumara-sambhava" (I.41) Kalidasy [Classical poetry 1977: 29]. The author of the poem resorts to Alankara vishekoti, which, according to Dundin, consists in "indicating the imperfection of quality, gender, action, etc. [subject] for the sake of revealing his exclusiveness " (" Kavyadarsha II.323) (quoted in [Grinzer 1987: 110-111]). width (shirISha) - acacia tree Acacia sirissa or Albizia leblek, related to the rain forest [Valmiki 1999: 489; Mahabharata 1987: 796]. Flowers are like a fluffy bundle of villi, small hemispheres, color from almost white at the center to light green-yellow on the surface of the "hemispheres". One of the Kama's arrows is a flower of the width [Classical Poetry 1977: 840]. Dolphin -bearing (makara-dhvaja) - see comments. to No. 105.even having suffered defeat, / Imi Haru grabbed his neck (parAjitenApi kR ^ itau harasya yau kaNTha-pAshau) - see comments. to No. 18, 77. 149. Sandal (chandana-charchitAya) - see the comment. to No. 35. Bearing marks / Half-nailsnails (nakha-kShatendu) - about the role of nails in love games, see comments. to No. 123. Also contained in the "Subhashita-ratna-bhandahar" (277). The poem is attributed to 150. Kalidas. 152. Also contained in the "Subhashita-ratna-bhandahar" (281.366). Ganga (ga ~ NgA) is the most sacred river of Hinduism. Its origins are in the Himalayas, and it flows into the Bay of Bengal. Hindus make pilgrimages to it, especially to its sources and the cities of Haridwar, Varanasi and Allahabad (the place of the confluence of Jamna). Cremations pass on its shores, the ashes of the deceased are dispersed in the water and ritual ablutions are carried out. For the first time (and only once) is mentioned in the Rig Veda [Hinduism 1996: 139; Ulciferov 2003: 131; Bhattacharyya 1999: 131]. a set of hairs(romAlI) is a vertical line of hairs on the body of a woman above the navel. It should be noted that they were considered a sign of beauty only in a woman with fair skin and black hair. The frequent mention of romAlI in Sanskrit poetry, according to D. Ingolls, may be due to the South Indian custom of wearing a skirt and a short bodice, leaving the upper abdomen bare. This custom spread to the north of India in the late classical period (Ingalls 1965: 153; Ingalls 2000: 121]. Kaushiki (kaushikI) - the river in Bihar,

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

the tributary of the Ganges [Apte 1988: 166]. considering the place of their merging with pure tirtha(matvAkAmuka-tIrtham atra vimalaM tatrAnayoH saMgame) - tirtha (tIrtha, lit. "ford, ford"), the sacred places of pilgrimage of Hindus are usually located on the banks of rivers, sometimes at the confluence of two rivers [Hinduism 1996: 417-418]. Month for the sake of getting rid of the stain / He makes the rumination there (chandro majjati lA ~ nChanApanutaye) - water Ganges are considered to be purifying from sins and healing from infirmities, and therefore Hindus perform ritual ablutions in them, preferably in tirthas [Hinduism 1996: 139]. stealing marks of nails (nakhA ~ nka-chChalAt) - see comments. to No. 123. 153. Does not a man come to paradise, / Penetrated with sharp arrows on the field of love warfare (nArAchair nishitair nikhAta-vapuShAM puMsAm iha yodhane svargaH ... kathaM durlabhaH) - according to traditional ideas, mortal warriors who fell heroes on the battlefield, fall into the world of Indra svarga), where they are appeased by apsars - celestial courtesans and dancers [Myths 1991: 96]. 156. Source: "Shringara-shataka" (54) Bhartrihari [Bhartrihari 1979: 84-85; Indian lyrics 1978: 183]. The author of the poem resorts to the Alankara rupaka, see comments. to No. 105. 157. Source: "Shringara-shataka" (83) Bhartrihari [Bhartrichari 1979: 83]. Ganga (ga ~ NgA) see the comment. to No. 152. The author of the poem resorts to the Alankar anuprasa, see comments. to No. 10. At the end of the first stanza stands: pApa-vAriNi vAriNi, and at the end of the second: manohAriNi hAriNi, due to which rhyme is formed, not characteristic of Sanskrit poetry. 158. Also contained in the "Subhashita-ratna-bhandahar" (277.248). The author of the poem resorts to Alankar utpreksha, see comments. to No. 8. Otherwise, the beauties' breasts are so high that they attract everyone's attention, and so closely adhere to each other that a necklace of pearls can not fit between them . 159. Also contained in the Subhashita-ratna-bhandahar (267.1). 161. Also contained in the "Subhashita-ratna-kosh" (438), where it is attributed to Panini [Ingalls 1965: 172]. 162. Also contained in "Subhashita-vali" (1537). The poem is attributed to Bhattaprabhakara. 163. Cf. with the poem No. 429 in "Subhashita-ratna-kosh", which is attributed to the poetess Bhavakadevi [Ingalls 1965: 172]. 164. Also contained in the Subhashita-ratna-bhandahar (267.11) and "Subhashita-ratna-kosh" (379) [Indian lyrics of 1978: 151; Ingalls 1965: 162]. Who will not drive mad - in the original ka iha na skhalati, lit. "Who will not stumble here." 165. Rounded breasts - in the original stana-golakaM. lips similar to the fruits of bimba (bimbAdhara) - see comments. to No. 120. 166. It is also contained in the Subhashita-ratna-bhandahar (87.4). 167. Boograms on the head of the elephant (kari-kumbham) - we are talking about two protuberances or "pots" (kumbha), which are an important part of the anatomy of the animal: it is in them that the glands are placed, from time to time, when the elephant enters the state of the so-called Musta (estrus), a special liquid is emitted - mada, and the elephant becomes extremely file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

aggressive. Epic and Puranas often use the image of "frenzied" (matta), that is, located in the period of the elephant's bush [Mahabharata 1987: 611; Mahabharata 1998: 204; Mahabharata 2005: 182; Mahabharata 2009: 352; Ingalls 1965: 473]. 168. Cf. poem number 156. in more often hairs (roma-rAji-gahane) - see comments. to No. 152. Madhusudana (madhusUdana) - here is Kama. Depriving men of clothes even in the afternoon, and what to speak about the night? (nirvastrI kriyate divApi hi naro rAtrau nu kiM kathyate) - we are talking about exposure during lovemaking. 169. Also contained in the "Subhashita-ratna-bhandahar" (267). 171. It is also contained in the Subhashita-ratna-bhandahar (267.18). 172. Also contained in the Subhashita-ratna-bhandahar (278) 173. Also contained in "Subhashita-vali" (1546). for anointing - in the original abhiSheka, this is the central episode of the rite of royal initiation. The king was sprinkled with water from various rivers, poured into four vessels of different kinds of wood [Hinduism 1996: 37]. Flower lord (puShpeshor) - i.e. Kama. two hillocks / On the head of the king of elephants during the heat (unmade-dvipa-pateH kumbho) - see comments. to No. 167. In one place (yugalayor lIlA-latAsatphalena), the author of the poem resorts to the Alankar anuprasa, see comments. to ʋ 10. 174. Also contained in the "Subhashita-ratna-bhandahar" (277). 175. Also contained in the "Subhashita-ratna-bhandahar" (278). Like the hillocks on the head of an elephant during a heat (madana-kariNaH kumbha-yugalaM) - see comments. to the number 167. vessels with amrita, extracted from the ocean for the enjoyment of the pious (samudraM bhogAyAmR ^ ita-kalasha-yugmaM) - according to the popular Hindu myth, once the gods and asuras together began to churn the ocean to obtain from it amritus, a drink of immortality (see. comments to No. 85). They used Mount Mandara as a whorl, setting it on the back of a giant tortoise that sank to the bottom of the ocean, and sweeping, like a rope, the serpent Shesha (Vasuki). As a result, an amrita appears from the ocean, and along with it a whole series of treasures (in the sources is called a different number) [Myths 1991: 536; Temkin 1982: 248].with fresh traces of nails (nava-nakha-padA ~ NkaM) - see comments. to No. 123. 176. Also contained in the "Subhashita-ratna-bhandahar" (277.272). 177. Also contained in the Subhashita-ratna-bhandahar (277.249). 178. Also contained in the Subhashita-ratna-bhandahar (280.331). owning one - in the original vashinAm, according to Apte, one of the meanings of the word vashin "one who has subdued his passions" [Apte 1988: 496]. 179. Also contained in the Subhashita-ratna-bhandahar (280/331). three folds (trivalI) - three folds over the navel - one of the canonical signs of female beauty [Classical poetry 1977: 29, 813; Ingalls 1965: 479]. pishacha (pishAcha) - in Hindu mythology, the representative of the lowest of the three classes of demons (asuras and rakshasas), a disgusting demon, a devourer of corpses, a torturer of the sick, dwelling in cremation sites [Hinduism 1996: 329]. Also contained in the Subhashita-ratna-bhandahar (39.13). The poem is attributed to 182. Argata. 183. The author of the poem resorts to the Alankara rupaka, see the commentary to No. 105. file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

186. The author of the poem resorts to the Alankar artharantanyasa, "in which, speaking of some circumstance, another is mentioned that can be the confirmation of the first" (Kavya-darsha II.169) (quoted in [Grinzer 1987: 87-88] ). Mature to the highest degree poetry, / Violating the ancient foundations, / Most venerated among poets(prauDhi-prakarSheNa purANarItervyatikramaH shlAghya-tamaH kavInAM) - by "foundations" here is meant rIti - recognized styles of Sanskrit poetry, the teachings of which were developed by the theoretician of poetics Vamana [Grinzer 1987: 20-21]. According to Yu.M. Alikhanova, from the IX. in the Sanskrit poetry, the poetic canon is being eradicated. Therefore, on the one hand, there is an increase in metaphoricality and sophistication, and on the other, there is a desire for stylistic simplicity and the world of ordinary things [Indian lyrics 1978: 57-58]. As PA noticed. Grinzer, "the concepts of novelty and tradition do not contradict each other. Novelty does not imply the breaking of the canon, but it is foreseen by the canon itself. The latter indicates not only traditional, mandatory topics, patterns, types of heroes, etc., but also the ways of their interpretation and transformation, consecrated by tradition "(cf. by [Grinzer 2008: 510]). According to the researcher, all Sanskrit poetry can be represented as a continuous chain of variations. Concerning the theme of the individual specificity of the work of the Indian poet in the traditional era, P.A. Grinzer refers to the classification of poets given by Rajashekhara in the "Caia Mimans". To the upper class, he said, belong those who introduce new content into poetry, noting that such poets are very rare. The remaining four classes are ordinary earthly poets dealing with ordinary content, themes and motifs, but somehow changing them. With the unusualness and beauty of such changes, the idea of individual characteristics of creativity is connected in Sanskrit poetry [Grinzer 2008: Concerning the theme of the individual specificity of the work of the Indian poet in the traditional era, P.A. Grinzer refers to the classification of poets given by Rajashekhara in the "Caia Mimans". To the upper class, he said, belong those who introduce new content into poetry, noting that such poets are very rare. The remaining four classes are ordinary earthly poets dealing with ordinary content, themes and motifs, but somehow changing them. With the unusualness and beauty of such changes, the idea of individual characteristics of creativity is connected in Sanskrit poetry [Grinzer 2008: Concerning the theme of the individual specificity of the work of the Indian poet in the traditional era, P.A. Grinzer refers to the classification of poets given by Rajashekhara in the "Caia Mimans". To the upper class, he said, belong those who introduce new content into poetry, noting that such poets are very rare. The remaining four classes are ordinary earthly poets dealing with ordinary content, themes and motifs, but somehow changing them. With the unusualness and beauty of such changes, the idea of individual characteristics of creativity is connected in Sanskrit poetry [Grinzer 2008: that such poets are very rare. The remaining four classes are ordinary earthly poets dealing with ordinary content, themes and motifs, but somehow changing them. With the unusualness and beauty of such changes, the idea of individual characteristics of creativity is connected in Sanskrit poetry [Grinzer 2008: that such poets are very rare. The remaining four classes are ordinary earthly poets dealing with ordinary content, themes and motifs, but somehow changing them. With the unusualness and beauty of such changes, the idea of individual characteristics of creativity is connected in Sanskrit poetry [Grinzer 2008: 543]. 187. Also contained in the "Subhashita-vali" (1539.1540). file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

188. The lord of the day (dinesha) is the epithet of Surya, the sun god. Ganesha (gaNesha) - see the comment. to No. 1. Kapalin (kapAlI, "wearing a skull") is the epithet of Shiva. Dripped (kapAlI) - the epithet of the wife of Shiva. Murari (murAri) - see the comment. to No. 72. Virinchi (viri ~ nchi) is the name of Brahma. 189. The three worlds (bhuvana-trayaM) - see comments. to No. 91. 191. Reminiscent hillocks on the head of a magnificent elephant during heat (manohAri-mattebha-kumbhAnukAri) - see the comment. to No. 167. 192. Also contained in the "Subhashita-ratna-bhandahar" (288.21). The heat of passion drained the sandalwood paste / On the breasts of the beauty (madana-dahana-shuShyat ... kAntAkuchAntarghana-malaya-ja-pa ~ Nke) - in the original, sandal is transmitted as malaya-ja-pa ~ Nka, lit. "Pasta with Malaya", see comments. to No. 10. Indian beauties usually covered the chest with fragrant colored ointments - sandalwood, saffron, etc. [Indian lyrics 1978: 199]. 193. Also contained in the Subhashita-ratna-bhandahar (379.9). The author of the poem resorts to alankara samasokti ("condensed description"). Dundin gives this Alankar the following definition: "When, referring to one thing, one speaks of another, with it similar, - such a statement because of its brevity is called a condensed description" (Kavya-darsha II.205) (cited in [Grinzer 1987: 90-91]). In this case, the golden liana is the body of a woman, and the two mountains - her breasts. 194. Also contained in the "Subhashita-ratna-bhandahar" (278.279). According to Indian beliefs, pearls are formed in the heads of elephants [Classical poetry 1977: 812; Ingalls 1965: 528]. 195. The author of the poem resorts to the Alankar of anupras (see the note to No. 10): taruNavAruNa. 196. They adapted them for the case of theft (charantyetA stenAkAryeShu) - that is, for the abduction of men's hearts. 197. The ignoramuses compare them to the crooked hillocks / On the head of the elephant, that attractiveness is deprived (vilAsa-hInair ibha-kumbha-chakrair vakraiH sahAvAntulitau apij ~ naiH) - the playing of traditional comparisons was inherent in the late period of classical Sanskrit poetry, see comment. to No. 130. 199. From seven continents (sapta-dvIpa) - according to traditional Hindu cosmography, the Earth, which is a flat disk of enormous size, consists of seven continents, in the form of a ring and separated by oceans from various substances [Bash 1977: 514]. 205. Also contained in "Subhashita-vali" (1538). The poem is attributed to Shakavrddhi. High and full of Persia, smeared with black aloe (unnataH prollasaddhAraH kalAgurUmalImasaH) see comments. to No. 192. Celebrations in honor of the Kama (ana ~ Nga-ma-Ngala, lit. "in honor of the Bodiless") 206. - see comments. to No. 18. Also contained in the Subhashita-ratna-bhandahar (278.295). Manobhava (manobhava, 207. literally "arisen in the heart") is the epithet of Kama. The author of the poem resorts to the Alankara rupaka, see comments. to No. 105. 210. resulting in the excitement - in the original pulakaM, lit. "Hairs on the body", a traditional file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

description of strong emotions for Indian poetry [Classical Poetry 1977: 832]. 211. Also contained in the Subhashita-ratna-bhandahar (290/11). 212. Ganges (ga ~ NgA) - see comments. to No. 152. 213. Source: commentary on "Kuttani-mate" (302). 214. It is also contained in the Subhashita-ratna-bhandahar (332.1). the talisman is in the original rakShAmAlikA [Apte 1988: 462]. 215. Source: commentary on "Kuttani-mate" (302). 216. O Sister Kanchuk - in the original bhrAtaH ka ~ nchuka, "brother of Kanchuk," because the word ka ~ nchuka is in Sanskrit masculine . 217. Also contained in the Subhashita-ratna-bhandahar (97.78). nails, they were furiously wounded (nakharAMkusha-ghAta-vegaiH) see comments. to No. 123. Verily, that is inscribed on the forehead, do not change - in the original tenAnyathA bhavati yAkShara-mAlA bhAle. 218. By the will of Destiny (vidhi-vashAd) - see the comment. to No. 63. 220. bilva (bilva) is a plant of Aegle Marmelos, a species of wild apple tree, fruits of which are used uncontoured in folk medicine, and leaves - in the rituals of Shiva worship [Valmiki 1999: 482; Hinduism 1996: 79]. 222. It is about embracing a vidhaka, when a woman approaches a man from behind or from the side, trying to take something from him, and "accidentally" touches his chest and nips her nipples. In Sanskrit poetry, the heroines often awaken a love feeling in a man. The poet Magha describes a girl who, pretending to be afraid of bees, rushes to her beloved and "pricks" his nipples with her high chest. In Bharavi's poem, the girl, amusing herself with her lover in the lake, pretends to be afraid of fish, and "punctures" the young man [Efimenko 1996: 63]. Thus, alankara atishayokti (lit. "exaggerated saying") is used, somewhat resembling hyperbole. Dandin gives this definition of this Alankara: "The desire to describe any property [subject] that goes beyond the ordinary, [generates] atishayokti, 91]). 227. Also contained in the "Subhashita-ratna-kosh" (615) [Ingalls 1965: 212] and "Saducti-karnamrta" (11.3). on marks of fingernails or nails that has left liked (kAnta-dattam abalA-nakha-kShatam) - see comments. to No. 123. 228. Also contained in "Subhashita-vali" (1292). Similar boograms on the head of an elephant during the estrus (mattebhs-kumbha-pariNAhini) - see comments. to No. 167. 229. The daughter of Bhava (bhava-putrI) is Saraswati. 230. Also contained in the "Subhashita-ratna-bhandahar" (279). In this poem, the homonymy of the name of the legendary king Asur Bali and the names of three folds (bali or vali) on the abdomen above the navel, which were considered the canonical sign of feminine beauty (see the comment to No. 179) are played out. According to the legend, Asura Bali, thanks to his piety and asceticism, defeated Indra and achieved power over the three worlds - heaven, earth and the underworld. Then Vishnu, incarnated in a dwarf (vAmana, this is his fifth of the ten major incarnations, or the fifteenth of the twenty-two, according to the version of the Bhagavata Purana (I.3.19)), came to Bali and asked him for a gift as much space as he , the dwarf, can measure by its steps. Not suspecting the dirty trick, Bali agreed, and Vishnu, taking his true form, covered the file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

heavens with the first step, the second earth, 151]. 231. It is also contained in the Subhashita-ratna-bhandahar (280). At the waist of a virgin, like the altar (vedi-vilagna-madhyA ... bAlA), the altar had the shape of an hourglass, being narrow in the middle, hence the steady comparison of the female figure with it. In the Shatapathebrahmana (1.2.5.15-16), where the process of sacrifice is identified with love, "the altar (vedi) is a woman, and the fire (agni) is a man; a woman crouches, embracing a man, and thus there is a union giving offspring "; Further, the parts of the altar are appropriately likened to parts of the female body [Syrkin 1996: 8; Ingalls 1965: 495]. 233. Also contained in the "Subhashita-vali" (1551). Also contained in the Subhashita-ratna-bhandahar (279.317). The poem is attributed to 234. Kumaradas. blue lotus - in the original vana- ja [Apte 1988: 490]. 235. Also contained in the Subhashita-ratna-bhandahar (280). 236. It is also contained in the Subhashita-ratna-bhandahar (280). shaivala (shaivala) Vallisneria octandra, or bexia, an aquatic plant [Valmiki 1999: 489]. chakravaka (chakravAka) gerbil; it is believed that the male and female chakravaks are very fond of each other, but are forced to part with the onset of darkness until morning and all night long plaintively calling each other [Classical Poetry 1977: 840]. 239. The author of the poem resorts to Alankara rupaka, see comments. to No. 105. 240. staff (daNDaH) - refers to the lingam [Apte 1988: 244]. 242. Also contained in the Subhashita-ratna-bhandahar (2310/3343). Garuda (garUDa) is the king of birds, the riding bird Vahana Vishnu. A stable mythological motif associated with Garuda is his constant enmity with the snakes that he devours [Myths 1991: 266-267]. Having on the banner of Garuda (garUDa-dhvaja) - the epithet of Vishnu. 244. Three folds (tri-valI) - see comments. to No. 179. Between which the secret is hidden - in the original (guhyAntaraM). According to Apta, the word guhya can refer to the female womb [Apte 1988: 190]. 245. The author resorts to Alankara prachelik, see comments. to No. 135. pippala - Ficus religiosa, ficus sacred or fig tree [Valmiki 1999: 487]. Another name is ashvattha. Already in the Vedas appears as a symbol of the world tree [Mahabharata 1987: 794]. Pippal in the poem stands for a female womb, and two plane trees - two hips. 246. pippala- see. comments. to No. 245. 247. The halls of Smara (smara-mandiraM) - female womb. Smara is one of the names of Kama. ashvattha is a sacred fig tree, see the commentary to No. 245. 248. Also contained in the "Subhashita-ratna-bhandahar" (281.386). asvattha (calapatra) - see comments. to No. 245, 247. 249. Bengal (ba ~ Nga) is a historical region in the east of the Hindustan Peninsula. In 1947, Bengal was divided into Western, which became a state Republic of India, and Eastern, which became East Pakistan (since 1971 Bangladesh) [Ultsiferov 2003: 72]. 250. ashvattha (ashvattha) - see comment.. to the number 245, 247. hail Madana (madana-

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

puraM) - female womb. Madana (the letter "intoxicating") is one of the names of Kama. 251. The sacrificial pillar (yUpa) is a pillar, usually made of bamboo or a khadir tree, to which the victim was attached during killing (Apte 1988: 459). 255. Also contained in the "Subhashita-vali" (1566). The author of the poem resorts to Alankara Vyatyreka, see comments. to No. 125. Female thighs are often compared to the trunk of a banana because of its smoothness [Shastri 2010: 199]. 256. banana (kadalI) - see the comment. to No. 146. 258. red lacquer (rAga) - decorated, women covered their lips, fingertips on their hands and feet, palms and soles of their feet with liquid red lacquer [Anandavardhana 1974: 273; Bash 1977: 229; Shastri 2010: 152]. Lotus, growing on the existing - in the original sthalAravinda. These lotuses (Hibiscus mutabilis) had a dark red color, hence their comparison with the feet of beauties who left spots of red lacquer on the ground [Apte 1988: 621; Shastri 2010: 200]. nupuras (nUpura) - a kind of special ankle bracelets with bells, worn on the ankle 259. [Mukundoram 1980: 192; Shastri 2010: 145]. gait walk (gatiH haMsa-bhAryAyAH) - the gait of a beauty in Sanskrit poetry is often compared with the gait walk, as well as with the slow but majestic gait of an elephant, see the comment. to No. 262. The word haMsa is sometimes translated as a swan or a flamingo (which, of course, looks more poetic to the European), but, as D. Ingolls notes, only Englishmen brought swans to India, and flamingos are rare [Ingalls 1965: 136]. 262. elephant gait (gajAnAM gamanaM) - the gait of a beauty in the Sanskrit epic and poetry is often compared with the majestic step of the elephant [Nevelova 1996: 32; Apte 1988: 177]. nupuras (nUpura) - see comments. to No. 259. The king's goose (rAja-haMsa) - Anser Indicus. So, apparently, they called white wild geese, distinguishing them from gray geese (kalahaMsa). It is one of the most beloved and revered birds in India, with which many poetic images are associated. In poetry, emphasis is placed on the whiteness of the plumage of this bird, although it also contains a brown color. According to Apt, this is a flamingo (a kind of white geese with red legs and a key). A characteristic stamp of Sanskrit poetry is the comparison of female leg bracelets with a goose bump used in this poem [Indian lyrics 1978: 197; Classical poetry 1977: 813; Apte 1988: 467; Ingalls 2000: 106]. 263. Also contained in the "Subhashita-ratna-bhandahar" (282.422). Elephant gait (gaja-gAminI) - see the comment. to No. 262. 264. It is also contained in the Subhashita-ratna-bhandahar (282.419). 268. Also contained in the Subhashita-ratna-bhandahar (263). kouvalaya (kuvalaya) - see the comment. to No. 116. 270. Under the burden of the breasts and thighs / slowly she walks (jaghana-stana-bhAreNa mandaM mandaM prayAti sA) - the perfect beauty slightly bends under the weight of the breasts and walks slowly, burdened with hips [Classical poetry 1977: 817; Shastri 2010: 128]. It is also contained in the Subhashita-ratna-bhandahar (263.19). The luminary goes to 271. nirvana (dIpo nirvANatam vrajet) - here the two meanings of the word nirvANa are played: the everyday - the extinct state and the philosophical one - the highest goal of all living beings, consisting in releasing the burdens (duMkha) of the reincarnation (saMsAra) and karma [ Indian

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Philosophy 2009: 568-570, Apte 1988: 295]. Having been in their arms, / To hell hit man (tAsAm Ali ~ Ngane) puMsAM narake patanaM) - author of the poem ironically about threats adulterers contained in Hindu religious texts. For example, in the Garuda Purana (II.13.68) it is said that "he who constantly enjoys with another's wife <...> will become a preex" (quoted in [Tyulina 2003: 158]). 272. It is also contained in the Subhashita-ratna-bhandahar (163.160). 275. The author of the poem several times resorts to Alanquara anuprasa, see comments. to No. 10: chandra-pratimatimatimaM kaThinau Thinau Thinau / ramasAbhasabhasA ... taruNIrUNIrUNI. 276. Also contained in "Subhashita-vali" (2340) [Subhashitavali 2007: 108]. The pitta (pitta) mentioned in the poem, vata (vAta) and kapha (kapha) are the three bodily media, see comments on them. to No. 34. 277. Source: "Shringara-tilaka" of Kalidasa. On the three bodily fluids, see comments. to No. 34. Shleshma replaces Kapha in this poem . 278. Amalaka (Amalaka) - Emblic Myrobalan tree Phyllanthus emblica, imbues gemolok. Sour fruit of some varieties of this tree growing in the mountains was attributed to the miraculous power - to return youth, to grant longevity, etc. [Valmiki 1988: 84]. Hitavasti (hitavAstI) - the plant could not be identified; vibhitaka (vibhItaka) - the tree of Terminalia bellerica, is mentioned among plants that produce whitening and tannic substances [Valmiki 1999: 482; Mahabharata 1987: 794]. harityaka (harItaka) - Terminalia chebula, a yellow worldbalance, whose fruits are supposedly inherent in a magical power - to bestow longevity and youth [Mahabharata 1987: 796]. the abode of Madana (madana-mandiraM) - see comments. to No. 247, 250. 280. Also contained in "Subhashita-vali" (2225) [Subhashitavali 2007: 97]. 281. with intermittent breathing - in the original sIt-kariNI, lit. "The sound of the sieves is produced." According to the Kamasutra (II.7.15.16), this woman pronounces this sound during lovemaking, and it "is associated with a feeling of pain" [Vatsyayana 1993: 73-74]. nectar for the sake of which stupid gods, / Attacking, plowing the ocean (amR ^ itaM shramAya mathito mUDhaiH suraiH sAgaraH) - see comments. to No. 175. Also contained in the Subhashita-ratna-bhandahar (349.119). The poem is attributed to 282. Achale. madhUka - Bassio latifolia, Mohwa or Indian oil tree. A large deciduous tree with a thick gray bark, growing in arid mountain areas, valuable for its tasty and nutritious flowers that blossom at night and fall at dawn. The petals of these flowers of women are collected and grinded into flour, from which bakes are baked. From the flowers Madhuk receive a strong alcoholic drink, and from the pods - oil. In addition, Madhuk was considered a tree of love, and many wedding ceremonies were associated with it [Valmiki 1999: 485-486; Indian lyrics 1978: 6-7; Ingalls 1965: 495]. bandhook (bandhUka) - Pentapetes Phoenicea tree or Terminalia Tomentosa, blooming with yellow, white or red flowers [Mukundoram 1980: 192; Monier-Williams 2015: 721]. bees (madhupAH) - in Sanskrit poetry bees symbolize male fans. 283. wagtail (kha ~ njarIta) - see the comment. to No. 97. The author of the poem resorts to the Alankara praechelica, see comments. to No. 135. The wagtail on the lunar disk is the eyes on the face of the beauty, the pomegranate seeds in the lotus bud are the teeth in the mouth, and the file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

fruits of malura on the branch of the mandarin tree are the breasts on the body. malura (mAlUra) - bilva tree (see commentary to No. 220) or kapitha [Apte 1988: 438]. The latter is the jackfruit, Feronia elephantum, which is grown throughout India, a medium-sized deciduous tree with spines. It has numerous, small, dull red, pale pink with transition to a greenish-yellow flower [Valmiki 1999: 484]. madanaka - Artemisia Indica, kind of apple tree [Monier-Williams 2015: 779]. 284. Also contained in the "Subhashita-ratna-bhandahar" (365.60-61), "Subhashita-vali" (3380) [Subhashitavali 2007: 161]. Source: "Shringara-shataka" Bhartrihari [Bhartrichari 1979: 84]. halahala-poison (hAlahala) - according to legend, during the churning of the ocean by the gods and asuras for the gaining of amrita, a terrible poison of halakhal or Kalakut appeared on its surface, which threatened to burn the universe. Then, for the sake of saving the world, Shiva swallowed the poison, and from this, his neck turned forever blue (Ramayana I.45) [Ramayana 2006: 767, 772; Temkin 1982: 65]. Cf. the motifs of disastrous intimacy with a woman, the "virgin-poison", which carries the death to the beloved are common in the world folklore [Syrkin 1996: 22]. And on the heart of the kulaks beat- in the original hR ^ idayaM muShTibhir eva tADyate. In I.D. Serebryakov translated incorrectly: "And we squeeze our breasts" [Bhartrichari 1979: 84]. As Vatsyayana writes ("Kama Sutra" II.7.15-16.2-3), "striking" is also a part of [love pleasure]. Places [blows] - shoulders, head, [cavity] between the breasts, back, bottom, sides. These [blows] are of four kinds: the back part of the hand, the palm bent, the fist and the straightened palm (cited in [Vatsyayana 1993: 73]). 285. Vainly her name is impotent (buddhyA kayA bata budhair abalA babhAShe) - the literal meaning of the word abalA "woman" is played : "Powerless", and - a negative particle, bala - force. 286. Source: "Shringara Shataka" (10) [Bhartrihari 1979: 79; Indian lyrics 1978: 135]. In the poem, the literal meaning of the word ababA "woman" is played: "powerless", see comments. to No. 285. 288. The cunning words of the envoy from the beloved (dUtI-vachashchAturI) - the image of the envoy (dUtI), which the woman directs to her beloved man, is often found in Sanskrit love poetry [Ingalls 1965: 192-197; Ingalls 2000: 147-150; Shastri 2010: 122]. teeth that do not bite their lips during amorous amusements (dantAs ... rati-vidhau yaiH khaNDito nAdharaH) - see comments. to No. 123. Source: commentary "Rasikapriya-tika" on "Gita-govindu". khandita (khaNDitA) is one 289. of the eight major naiik (nAyikA) in Sanskrit literature, a woman whose husband is guilty of infidelity and is angry with him because of this [Apte 1988: 175]. 290. Shyama (shyAmA, lit. "dark") - according to Apte this is 4) the type of woman, 5) a woman who has not yet given birth to children [Apte 1988: 564]. 292. Also contained in "Subhashita-vali" (1225) and "Shringara-shataka" (42) Bhartrihari [Bhartrichari 1979: 83]. 294. Source: "Shringara-shataka" (9) Bhartrihari [Bhartrichari 1979: 79]. 295. Also contained in the "Subhashita-ratna-bhandahar" (283.2). A source: "Shringara Shataka" (16) [Bhartrichari 1979: 80]. The author of the poem resorts to the Alankara rupaka, see comments. to ʋ 105. moonstone (. "lover Moon» Chandra- kAnta, «letters) file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

according to the legend, when it concerns their Luna rays, it acts water like perspiration arising from love enjoyment [Apte 1988: 202; Ingalls 1965: 272, 492]. 296. On the royal road (rAja-mArge) - according to Apte, it is "the royal or main road, the main street" [Apte 1988: 467]. 297. Also contained in the "Subhashita-ratna-bhandahar" (253.149). khadira (khAdira) - Acacia catechu or Mimosa catechu, orch or palatine palm (on betel, see commentary on No. 56). Used in the ceremony of royal initiation [Valmiki 1999: 485; Mahabharata 1987: 795]. The author of the poem resorts to the Alankar anupras (see commentary on No. 10): khadira-sAreNa hAreNa hariNI-dR ^ ishAM. 298. Also contained in the "Subhashita-ratna-kosh" (330) Vidyakara [Ingalls 1965: 151] and comments "Rasika-priya" on the "Gita-govindu" (98). Cf. "Shringara Shataka" (13) Bhartrihari [Bhartrichari 1979: 79; Indian lyrica 1978: 152]. 299. It is also contained in the Subhashita-ratna-bhandahar (178.799). 300. Source: "Shringara Shataka" (38) [Bhartrihari 1979: 83; Indian lyrics 1978: 137]. The author of the poem resorts to such a rare kind of play of words (shleSha), as bha ~ Nga-shleSha, when the ambiguity is achieved by using speech segments that can be broken into words in two ways [Anandavardhana 1974: 229; Grinzer 1987: 106-110]. At the end of both stanzas there is one and the same complex word suratara ~ NginI, which in the first stanza is divided as sura-tara ~ NginI, lit. "Divine river", and in the second stanza - surata-ra ~ NginI letters. "Playful during coition." 301. Also contained in the Subhashita-ratna-bhandahar (326.4). 302. gait, slow because of heavy thighs (nitambAlasa-gAminyaH) - the ideal beauty slightly bends under the weight of the breasts and walks slowly, burdened with hips [Classical poetry 1977: 817; Shastri 2010: 128]. 303. Source: "Shringara Shataka" (44) Bhartrihari [Bhartrichari 1979: 83; Indian lyrics 1978: 133]. The author of the poem resorts to Alankara apahnuti ("negation"). According to Dundin, apahnuti is "the negation of one thing and the affirmation [in its place] of the other" (Kavyadarsha II.304) (quoted in [Grinzer 1987: 105]). 304. The author of the poem resorts to the Alankara rupaka, see comments. to No. 105. Kamaduk (kAma-dugdhA) is a magical cow that fulfills all the wishes of its owner [Hinduism 1996: 226]. 305. The author of the poem resorts to Alankara rupaka, see comments. to No. 105. parijata (pArijAta) is a mythical tree. appeared during the churning of the ocean by the gods and asuras, see the commentary. to No. 175. Indra took it and planted it in his heavenly garden. The trunk of the parijata is made of wood, and the clusters of various fruits hang from the branches [Hinduism 1996: 326]. the desire cow (kAma-dugdhA) - see the comment. to No. 304. drinking the poison kalakutu (kAla-kUTaM viShaM) - see comments. to No. 284. the gods mowed the dairy sea (amarair Amanthi dugdhaudadhiH) - see comments. to No. 175. 306. Source: "Shringara-shataka" (5) Bhartrihari [Bhartrichari 1979: 78]. 307. Simple (mugdhAkShI) - see the comment. to No. 103.

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

308. Source: "Shringara-shataka" by Bhartrihari. 309. Source: commentary on Nagara-sarvasva (119). Description of the love habits and characteristics of women in various regions of India is found already in the Kama Sutra (II.5.12) [Vatsyayana 1993: 70-71], and then in later erotological treatises: Rati-rahasye, Pancha-Sayak (2 ), Ananga-rank (V), Rati-ratna-pradipike (7.48-67) [Bhattacharyya 1975: 106, 116, 121; Ratiratnapradipaka 2005: 116-121 ; Sacred Sexuality 2013: 38-41]. Saurashtra (saurAShTra) see comments. to No. 76. Marathas (maHArAShTrikA) - the representative of the people who constitute the main population of Maharashtra (mahArAShTra, the letter "great country"), now of the same state, located in the south-west of India. The ancient capitals of Maharashtra at different periods were Pratishthana (modern Paithan on the Godavari River), Kalyan and Watapi, or Badami [Ulciferov 2003: 311; Bhattacharyya 1999: 210]. Malwa (mAlava) - or Malawi, the historical region of Central India. The name came from the tribe of Malawi, who moved here from the banks of the Irrawati River as a result of Alexander the Great's campaign, whose troops exterminated much of the tribe, or, according to another version, from the Dravidian word malai "hill." The main city of Malwa was Ujjaini [Ulciferov 2003: 296; Bhattacharyya 1999: 212-213]. gudzharatki (gurjarI) representatives of the people, constituting the main population of the current state of Gujarat, located in western India [Ultsiferov 2003: 148-149; Bhattacharyya 1999: 141]. kashmiri (kAshmIrI) - representatives of the people who make up the main population of the current state of Jammu and Kashmir, see comments. to No. 56. 310. Karnati women (karNATI) - see the comment. to No. 10. Gujaratka (gaujaryA) - see the comment. to No. 309. Kashmiri (kAshmIrI) - see the comment to No. 56. The author of the poem resorts to the Alankar anupras (see commentary on No. 10): karNATI kaTi-koTare ... kaTa-kaTatkATe. 311. Source: commentary on Nagara-sarvasva (70). Women from Karnataka (karNATI) - see comments. to No. 10. Women of Lata (lATI) - see comments. to No. 10. Women of Chola (colI) Chola is a historical area located in the southern part of the Coromandel coast along the banks of the Kaveri River in the southeast of India. It was inhabited by a people of Dravidian origin. For the first time it is mentioned in the inscriptions of Ashoka. The main city was Uraipur (Ugarapura) [Mahabharata 1987: 732; Ulciferov 2003: 547; Apte 1988: 662; Bhattacharyya 1999: 110]. gudzharatki (gurjarI) - see comment.. to 309. Malwa women (mAlavikA) - see the comment. to No. 309. Bengal (gauDikA) - see the commentary to No. 249. 312. Source: commentary on Nagara-sarvasva (119). Marathas (mahArAShTrI) - see comments. to No. 309. woman of Lata (lATI) - see the comment. to No. 10. Women Chedi (chedi-vanitA) Chedi is a country west of the Ganges valley (roughly modern Madhya Pradesh state) It was inhabited by the Indo-Aryan people of the Chedi, first mentioned already in the Rig Veda [Mahabharata 1987: 731; Bhattacharyya 1999: 106]. abhirok (AbhIrI) - abhiri is a cattle breeding tribe occupying the territory of the southeastern part of modern Gujarat [Mahabharata 1987: 726]. bengalok (gauDI) - see comments. to the number 249. carnation (karNATI) - see comments. to No. 10. Kashmiri (kIrI) - see the comment. to No. 56. 313. Source: commentary on "Sahiti-darpana" (228). maratha (marahaTTa) - see comments. to file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

No. 309. the woman of Andhra (AndhrI) - Andhra is a historical region located in the south of India in the valley of the Tapti River and inhabited by the Dravidian people of Andhra [Mahabharata 1987: 726; Ulciferov 2003: 44]. In the south, in the women of some nationalities, the custom of appearing in public to the waist for a long time, while in the northern part of India it was quite cold, and women had to wear bodices [Bash 1977: 228]. 314. Also contained in the "Subhashita-ratna-bhandahar" (285.54). An extensive comparison of a beautiful woman with a lake or a river is often found in Sanskrit poetry [Bhartrichari 1979: 117; Grinzer 1987: 75]. The author of the poem resorts to the Alankara rupaka, see comments. to No. 105. tirtha (tIrtha) - the place of pilgrimage in which ablutions were performed, see comments. to No. 152. Shapphari (shapharI) - a kind of small fish with sparkling scales [Apte 1988: 546]. with hair (dhammilla) - refers to the hair tied in a bun on the head and decorated with flowers, precious stones, etc. [Apte 1988: 268; Shastri 2010: 147]. shaivala (shaivalaka) - Vallisneria octandra or bexia, an aquatic plant [Valmiki 1999: 489]. chakravaka (chakravAka) - see the comment. to No. 236. 315. Also contained in the "Subhashita-ratna-bhandahar" (364.9). rakshas (rAkShasI) is one of the three main classes of demons, (others are asuras and pishachi), enemies of religion, defilers of ceremonies, cannibals wandering around the legs, sorcerers and werewolves [Hinduism 1996: 353]. 317. in anger, that from Bhava the defeat has suffered (bhava-paribhava-kopAt) - Bhava is one of the names of Shiva [Mahabharata 1987: 712]. On the conflict between Shiva and Kama, see the commentary. to No. 18. 318. Source: commentary on "Kuttani-mate" (349). Cf. "The art of love" Ovid, where a love meeting is likened to a battle [Syrkin 1996: 27]. nupuras (nUpura) - see comments. to No. 259. dundubhi (dundubhi) - a major military drum [Mahabharata 1987: 736]. 320. House of pleasure (vilAsa-bhavane) - see comments. to No. 76. 321. The poem is dedicated to the abhisarike (abhisArikA), in the poetic canon it is a woman who goes to a secret meeting at night for a lover. The Abhisarika belongs to the nobility, because among the common people it was customary for a man to visit his beloved woman himself. Usually the abhisarika is depicted dressed in dark clothes to merge with the darkness of the night (as in this case), but on a moonlit night can wear white clothes and ornaments. She is also credited with the desire to make sure that the ringing of her jewelry is not heard. The image of an abhisarika, probably of folklore origin, but already in ancient works (for example, in Kalidasa) acquires a completely abstract and even ornamental character (the abhisariki become a permanent component of the description of rainy nights). A special type is mugdhAbhisArikA, a naive girl, (on the term mugdhA "simpleton," see commentary on No. 103) [Bash 1977: 182; Indian lyrics 1978: 56, 204; Apte 1988: 42; Ingalls 1965: 127, 252; Ingalls 2000: 100, 186]. 323. Source: "Shringara-tilaka" (1.53) Rudraty. 325. Source: the play "Nagananda" by Harshi. 326. Also contained in the "Subhashita-vali" (1409). The poem is attributed to the poetess Vikatanitambe. This council contradicts the instructions of Vatsyayana ("Kama Sutra" III.2.25.5file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

6) about the careful attitude towards the newlyweds [Vatsyayana 1993: 84]. a large black bee - in the original bhramara [Apte 1988: 414], in Sanskrit poetry acts as a symbol of a man in love. 328. Also contained in the Subhashita-ratna-kosh (570) [Ingalls 1965: 203] and "Saductikarnamrta" and in both anthologies is attributed to Karnottpale. from the shame of bending, strives to blow out the luminaire (vrIDAnatA ~ NgyA dIpaH phUt-kR ^ iti-vAta ...) - a timid young woman trying to put out a lamp, to cover her eyes with her husband - an ancient and often encountered image. Under the lamp is meant the burning in the matrimonial bedroom of the ratipadIpa or surata-dIpa (lit. "lamp of love passion"), which is a cotton wick floating in a vessel with oil [Indian lyrics 1978: 199; Ingalls 1965: 262]. 329. Fearing to break the banana palm of love (kandarpa-kadaLIya-bha ~ Nga-shaMkayA) - a banana palm appears as a symbol of fragility, see comments. to No. 146. 330. Source: Amaru Shataka (36). intermittently breathing (sIt-kAra ...) - see comments. to No. 281. He got amrita, for which sake / Stupid gods plowed the ocean (prAptaM tair amR ^ itaM shramAya mathito mUDhaiH suraiH sAgaraH) - see comments. to No. 175. 332. Source: Raghu-vamsha (19.27) Kalidasy. [Calidasa 1996: 308]. Describes the love of King Agnivarna, see comments. to No. 50. 333. Source: Saducti-karnamrta (1165). house of pleasure (rati-veshmanaH) - see comments. to No. 76. 334. Source: "Shringara-tilaka" (334) Rudraty. 336. It is also contained in the Subhashita-ratna-bhandahar (333.18). Sound background, according to "Kamasutra", is an integral element of the love game (II.7.15-16) [Vatsyayana 1993: 73-74], see comments. to No. 138. Intermittent breathing (sIt-kR ^ itAni) - see comments. to No. 281. pleas for mercy, / Sweet words without meaning (bhaNitaM karUNoktiH snigdhamuktamalamarthaM vachAMsi) - according to Vatsyayane, "when repetition of strikes caused by attraction, she utters words meaning deterrence, desire to be free, request for termination and a call to mother , and also [makes] intermittent sighs, "crying", "roar", mixed with exclamations " (quoted in [Vatsyayana 1993: 74]). 339. Spitting betel (tAmbUlaM chodgarayantI) - see comments. to No. 56. 342. Source: Amaru Shataka, supplement (parishiShTa) (158). simpleton (mugdhA) - see the comment. to No. 103. Also contained in the Saducti-Karnarit. Here is the asvattha tree (eSha drumaH kShIra343. vAnasmAdeva) - about the ashvatha tree, see comments. to No. 246, 247. This tree is revered as sacred and often grows at the gates of a city or village. According to the beliefs, there lives a deity guarding this place [Alikhanova 1978: 5; Hinduism 1996: 169]. 344. Also contained in "Subhashita-vali" (1041). 345. As the oil is poured into the lamp, so that it does not run out, / So you also take care of the lamp of our love - in the original naShTe snehe punar api yathA dIyate cha pradIpe / tadvad snehaM tava mama kR ^ itaM dIpa-vat pAlanIyaM. Here the game is on the double-valued word sneha, which means both "love" and "butter" [Apte 1988: 625]. file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

347. Also contained in "Subhashita-vali" (1044). 348. Source: Arjunaarma's commentary on Amaru Shatake (61). The author of the poem resorts to alankara asyrvacana-akshepa ("objection through the blessing"): supposedly blessing the beloved on the journey, the woman makes it clear that she will die in separation [Grinzer 1987: 86]. This poem is reflected in the belief in reincarnation, which is part of Hindu culture, religion and philosophy [Indian philosophy 2009: 712-713]. Also contained in the "Subhashita-ratna-bhandahar" (345.3). The poem is attributed to 349. Dundin. The author resorts to alankar upaya-akshepa ("objection to asking for help") [Grinzer 1987: 86]. Kandarpa (kandarpa) is one of the names of the god of love of Kama [Apte 1988: 132]. Also contained in the "Subhashita-ratna-bhandahar" (288.1). The poem is attributed to 350. Shakavrddhi. 352. Also contained in "Subhashita-vali" (1049). The poem is attributed to an unknown poet from South India. 353. Also contained in "Subhashita-vali" (1057). 354. Source: attachment to Amaru Shatake (132). to whom in Tirthas do you want to make a libation of water (kas tavAbhilaShitas tIrtheShu toyA ~ njaliH) - the libation of water in the Tirthas (see comment No. 152) is done for the deceased. A ritual participant with a face facing the south, plunges into the water and, calling the deceased by name, makes a libation of a handful of water [Pandey 1990: 202- 203]. 355. Also contained in the "Subhashita-ratna-bhandahar" (371.85). the ability to remember past lives (jAti-smaratvaM) - according to traditional notions, only exceptional people have this ability [Apte 1988: 219]. 356. a swarm of intoxicated black bees (mattAli-mAla) - see comments. to No. 326. mouth, like bimba fruits (bimboShThI) - see comments. to ʋ120. lost feelings (mohaM gatA) - fainting and "dying" in Sanskrit poetry are inextricably linked with the theme of separation [Indian lyrics 1978: 55]. Poem the author resorts to alankara anuprasa (see comment to the number 10..): LIlAlalita-lola-lochana ... . 357. Also contained in the Subhashita-ratna-bhandahar (310.7). The male and the female chakravaka are forced to part with the arrival of the night and until the morning they call each other mournfully, see the comment. to No. 236. 358. Source: commentary on "Sahiti-darpan" (409). jasmine (mAlatI) - see comments. to No. 55. 359. Also contained in the "Subhashita-ratna-bhandahar" (231.4). In the poem, the ambiguity of the word mAnasa is played: 1) heart, 2) the name of the lake. Lake Manasa (mAnasa) is located near the sacred mountain of Kailas (the seat of Shiva and Parvati) in the Western Himalayas Tibet. In Vayu-purana it is one of the four sacred lakes (southern) near the mythical mountain Meru, the axis of the world; these lakes were formed after the water of the four streams had left, to which, according to the main sides of the world, the Ganges River split from the heavens to the ground. In Sanskrit texts it is usually mentioned that it is the native land of geese migrating to its shores every year at the beginning of the rainy season [Hinduism 1996: 260-261; Apte 1988: 435; Bhattacharyya 1999: 215].

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

362. About the simple (mugdhe) - see the comment. to No. 103. anger - in the original mAna, in Sanskrit poetry this anger, caused by jealousy, a kind of mixture of resentment, anger, whim and vexation, mAna could only show women (hence the mAninI - an angry lover), for a man jealousy was considered shameful. A woman cries, scolds, or just behaves coldly and detached. However, always, however, the opportunity for reconciliation remains. According to D. Ingolls, nowhere does Sanskrit poetry reach such heights as when describing mAninI [Indian poetry 1978: 25-26; Ingalls 1965: 127; Ingalls 2000: 15, 100, 164]. As suggested by Yu.M. Alikhanova, mAna was part of the love etiquette, and it is based on the ritual behavior of the wife who meets her husband from a long journey [Indian poetry 1978: 26]. What time will the fish survive without water?(dhatte matsI kiyatkAlaM jIvitaM vAriNA vinA) - a hint that a woman can not live without love. It is also contained in the Subhashita-ratna-bhandahar. a simple woman (kAminI ... 363. mudghA) - see comments. to No. 103. The guard well (prapAlikA) - according to Apte, prapAlikA is a woman who distributes water to travelers [Apte 1988: 364]. Public wells were usually guarded by young unmarried women (taruNI) [Indian lyrics 1978: 6]. As noted by D. Ingolls, these women offered travelers cold water and sometimes even something else [Ingalls 1965: 120-121; Ingalls 2000: 95]. 364. Source: "Shringara-tilaka" Kalidasy. An empty pitcher foreshadowed unhappiness, unlike the full (ma ~ NgalyaM kalashaM), which was used at the ceremony of royal initiation, wedding, rituals associated with traveling on a trip and in other cases [Ingalls 1965: 489]. 366. Also contained in the "Subhashita-ratna-bhandahar" (344.14). broke, making the sound of "chat, chat" (chaTa-chaTetyeva bha ~ NgaM samIyuH) - according to Apte, the root chat means "to break" [Apte 1988: 201]. 367. A woman complains that her lover was carried away by reading a book, and instead of her body (see commentary on No. 123), marks her nails on the pages of this book. sworn enemy - in the original jIvita-vairiNI. 368. Also contained in the "Subhashita-ratna-bhandahar" (355.721). In the poem we are talking about a woman prapAlikA (see comments to No. 363), which seduces the traveler. source of lifegiving moisture - in the original prapA [Apte 1988: 364]. Also contained in the "Subhashita-ratna-bhandahar" (355.122). The poem is a dialogue 369. between a young woman guarding a well (see commentary on No. 363), and a traveler. Because of the polysemy of words the woman is responsible for, the traveler misunderstood her, and asks her questions that are ridiculous. Payas in Sanskrit can denote both water and milk [Apte 1988: 315]. Vara (vAra) can denote both water and day of the week [Ibid .: 502]. with folded palms - in the original kR ^ itA ~ njalir, a traditional Indian greeting. 370. Also contained in the "Subhashita-ratna-bhandahar" (159.23), "Chitopadesh", "Vikramacharite" and "Vetalapanchavshati" [Grinzer 2008: 284]. 371. It is also contained in the Subhashita-ratna-bhandahar (370.74). A woman peasant woman turns to a learned traveler. biblioteka - in the original pustaka-dhara. scientist astrologer - in the original gaNaka-shAstra-vishArado, lit. "Versed in the texts on astrology." According to Apte, gaNaka is an astrologer [Apte 1988: 178]. Which medicine will heal my mother from night file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

blindness - in the original kenauShadhena mama pashyati naktam ambA. 373. Source: commentary to Kuttani-mate (116). The woman tries to calm the refuge of the traveler who has found her, who is hungry for immediately amorous pleasures. The hour of patience has - in the original muhurtam ekaM kuru. Muhurta (muhurta) is a unit of time equal to 48 minutes [Apte 1988: 44]. Who is hungry and eats with both hands? (bubhukShitaH kiM dvikareNa bhu ~ Nkte) - it was prescribed to take food with only one right hand. Source: "Chaura-pancasika". with eyes as beautiful as wagtails (kha ~ njana-ma ~ 374. njulAkShI) - see comments. to No. 97. After all, Ravana because of Janaki's daughter / Ten heads lost (nItAni nAshaM janakAtmajArthe dashAnanenApi dashAnanAni) - Ravana ("howler") is a ten-headed demonakshas. With asceticism, he acquires from Brahma the gift of invulnerability, so that he can not overcome either gods or other demons. As the ruler of the island of Lanka, he kidnaps the beautiful Sita, the daughter of King Mithila Janaka, and dies in the battle at the hands of her husband Rama - the incarnation of Vishnu, who struck him with the arrow of Brahma (before Rama vainly cut off Ravana's head behind his head, but they grew up again ) [Myths 1992: 362]. 375. geese living on the lake of Manas (mAnasarovara-vAsino-i haMsAH) - see comments. to No. 359. Percy beauties deserve to be covered by soft matter. 376. Source: "Amaru Shataka" (9) [Anandavardhana 1974: 95]. 377. The poem is a dialogue between a traveler and a single woman belonging to the laundress's caste. But I'm a despicable washerwoman (nindyAhaM rajakI) - the laundresses belonged to one of the seven lower castes, called antyaja [Monier-Williams 2015: 44]. However, in tantras the washerwomen are mentioned among the women fit for the Vamachara practices (tantra of the left hand, preaching the deification of a woman and ritual coitus with it), see, for example, Guptasadhana-tantra (1.12-13) [Kaula 2004: 243]. Vamachar texts prescribe proximity to a woman of low birth. And the more "unclean" is the partner, the more it is suitable for practice. In this case, the woman acted as the leader, giving initiation, which allows tantrik to move to a higher level [Syrkin 1996: 15]. your caste is high! in the original jAti tava chottamA. 378. Source: commentary on "Kuttani-mate" (163). betel (tAmbUlam) - see comments. to No. 56. 379. in separation from her husband-deity (vibudha-bhartR ^ i-viyoge) - a Hindu woman should treat her spouse as a deity. As stated in the Laws of Manu (5.154): "A husband, [even] an alien virtue, dissolute or devoid of good qualities, a virtuous wife should be honored as a god" (cited in [Laws of Manu 1992: 115]). 380. Source: "Amaru Shataka" (13) [Indian lyrics 1978: 143]. As Demodoragupta testifies, the peasants were afraid to give shelter to travelers because of fear of thieves [Shastri 2010: 165]. 381. crore (koTi) - an account unit equal to ten million [Apte 1988: 164]. lakh (lakSha) - a unit of account, equal to one hundred thousand [Apte 1988: 473]. gundzha (gu ~ nja) is a unit of weight equal to 1 5.16 grains (1 grain = 0.0648 g). [Apte 1988: 187]. 382. Source: Amaru Shataka (60). red lacquer - in the original lAkSha, according to Apte, it is a kind of red lacquer, used mainly by women in ancient times for decoration, especially for the feet

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

and lips; was obtained from a special kind of insects or trees [Apte 1988: 479], see also comments. to No. 258. KeyUra - a kind of gold bracelet with a hoop ornament, worn by men and women between the shoulder and elbow [Mukundoram 1980: 215]. betel (tAmbUla) - see comments. to No. 56. The lotus toy (lIlAtAmarasa) - according to Apte, a toy lotus, which was held in the hand as a toy [Apte 1988: 481]. 383. Source: "Shringara-tilaka" (11) Kalidasy. A woman, offended by betrayal of her husband, compares herself with the discarded flower garland. 384. Source: "Shringara-tilaka" (1.142) Rudraty. the visiting house (saMketa-gR ^ ihaM) - in the Kamasutra (V.4.47.42), the most convenient places for visits to a married woman are dwelling beggar, "fasting nuns" and hermits [Vatsyayana 1996: 109]. envoy (dUtIM) - see the comment. to No. 287. 385. hair (dhammila) - refers to the hair tied in a bun, see the comment. to No. 314. 386. It is also contained in the Subhashita-ratna-bhandahar (63.259). 389. Source: the play "Nagananda" by Harshi. 391. It is also contained in the Subhashita-ratna-bhandahar (342.18). 394. By the will of Destiny (vidhau) - see comments. to ʋ63. an instrument - in the original nimittam, according to Apte, nimitta is "the instrumental or efficient cause" [Apte 1988: 289]. charming chakora-eyes (chakora-chAru-lochanA) - in Sanskrit poetry eyes beauties are often compared with birds: wagtail and chakora (for the latter, see comments on No. 128). 397. Source: "Shringara-tilaka" (13) Kalidasy. A young woman hints to the traveler for his desire to enter into a love affair with him. 399. The Lord of the Day (divAdhIsha) is the epithet of the Sun. 403. It is also contained in the Subhashita-ratna-bhandaharah (326.24). The author of the poem resorts to the Alankar dipak (see comments on No. 10), in a word, serving all the utterances, appears here vasati, lit. "Lives". Red lacquer (rAgas) - see comments. to No. 258. 405. The moon is in the original kumuda-bandhur, lit. "Friend of the night lotuses," oh kumuda, see comment. to No. 93. as if overwhelmed / born in thought - in the original jayinIva manobhavAj ~ NAM, lit. "Who has overcome the command of the one born in thought", i.e. Kama. 407. The ball is in the original kandukas. Apte translates the word kanduka as "a ball for playing with" [Apte 1988: 132]. In India, organized outdoor games were not accepted, and only children and young girls played the ball. The latter were trained to play with the ball, because this game could best demonstrate the beauty of their hands and the elasticity of their breasts. In the sources it is mentioned that the girls were so enthralled with this game that they were engaged in it until the redness of the palms and complete exhaustion of forces. Dundin 's "Dashakumara-charite" mentions the holiday of the ball game (kandukotsava), arranged in Damalipti (Tamralipti, the modern city of Tamluk in the state of West Bengal), where the daughter of the king of the country, Suhma, danced with the ball before the goddess Vindhyavasini to find herself a worthy husband [Basham 1977 : 225; Mahabharata 1987: 660;

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Shastri 2010: 154]. 408. Also contained in the "Subhashita-ratna-bhandahar" (308.45). The author of the poem resorts to the Alankar dipak (see commentary on No. 10), in a word, serving the utterance, appears here paripatati. 409. Source: "Sahiti-darpana" (138). 410. Also contained in the "Subhashita-ratna-bhandahar" (264.39). 411. Also contained in "Subhashita-vali" (219). The end of the poem repeats No. 410. The author resorts to the anakrasa Alankara (see commentary on No. 10): samadA pramadA sukhadA vishadA. 412. over bimba fruits (bimbA) - see comments. to No. 120. 413. The author of the poem resorts to the Alankara rupaka (see commentary on No. 105). 414. Thanks to a set of such qualities / Young woman conquers the world - in the original jayanti jagadantare taruNI te guNAnAM ganAH, lit. "The totality of the qualities of a young woman is winning in the world". 415. Also contained in the "Subhashita-vali" (1478). The poem is attributed to Sarvabhauma. The author resorts to Alankara atishayokti (see comment to No. 222). A similar poem cites Mammath as an example, which defines atishayokti, in particular, as such an Alankar, where the subject is "absorbed" by the object with which he is identified [Grinzer 1987: 92]. In this case, two lotuses are the legs of a beauty, the sandy beach is thighs, the sky is the waist (which is so thin that it seems to be not), two bouquets - breasts, coral - lips, the moon - face, and cloud - black hair. Oh God, God - in the original shiva shiva, lit. "O Shiva, Shiva." Also contained in the "Subhashita-vali" (1479). Reminds the poem No. 415, but the 416. metaphorical description of the beautiful body goes from top to bottom, and not from below upwards. Dark blackness is black ringlets, a month is a face, a pair of chakravak (for these birds see the commentary to No. 236) - breasts, emptiness - waist, bottomless vortex - navel, banana stems - hips. Oh my God, God - in the original shiva shiva, lit. "O Shiva, Shiva." 417. Refers to the same type as poems No. 415, 416. Lotus - feet, banana palm - legs, sandy beach - hips, emptiness - waist, pair of mountains - breasts, shell - neck, month - face, and sajvala ( see comments to No. 236) - black curls. 418. Refers to the same type as the poem No. 415-417. Lotus - feet, banana palm - legs, sandy beach - hips, heaven - waist, vessel - chest, moon - face and, finally, black bee - hair. 419. Also contained in the "Subhashita-ratna-bhandahar" (193.4). During the clouds (kAle payodharANAm) - that is, in the monsoon rainy season, which in the Indian poetic tradition is sometimes love, see the comment. to No. 39. it is impossible to remain in the fall - in the original apatitayA naiva shakyate sthAtum, another variant is possible "it is impossible to live without a husband". In this case, the author resorts to Alankar schists, when the ambiguity of the word apatitA is played, it can also be translated as "Kept from falling", and as "living without a husband" [Grinzer 1987: 106-110]. 421. It is also contained in the Subhashita-ratna-bhandahar (284.46). gazoleokaya

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

- in the original eNI-sadR ^ isha-nayanA. eNI means a black antelope female [Shastri 2010: 201]. the fire stake from the eye of the Hara (hara-nayana-tejo- hutam) - about the story of the burning of Kama Siva (Hara), see comments. to No. 18. Simple (mugdhA) - see the comment. to No. 103. nurtures - in the original pallavayati, denominative from pallava "escape, sprout". 422. Source: "Chaura-panchasika" (56) Bilhany. The author of the poem resorts to the Alankara, which Dandin calls tattvapahnava-rupaka ("rupaka, who denies the truth," for rupaka, see comment No. 105). Other theorists (Bhataha, Vamana, Rudrat, and others) defined this Alankara as apahnuti ("negation"), Dundin used this name for another Alankara, see comment. to No. 303 [Grinzer 1987: 79, 105-106]. 423. A woman ironically reproaches the ambassador that she seduced her lover. The Messenger (dUtI) - is often mentioned in Sanskrit love poetry, see comments. to No. 288. With nails and teeth / Did you kiss it? (vilagnAsIH dantair api nakhair api) - see comments. to No. 123. 426. The author of the poem resorts to alankar kram ("row"). Dandin defines this Alankar as "a parallel enumeration of [several] concepts in the same sequence as [and others] already mentioned" (Kavya-darsha 2.273) (quoted in [Grinzer 1987: 98] .This means that this figure consists of several enumerations, the members of which are combined in pairs in the given order.There are the following combinations in this poem: Moon-face, lotuses-eyes, coral-lower lip, Kandarpa's bow (ie Kama) -brows, platan-hips. 427. young beauty - in the original the word is in the wrong form: ramaNaM, true: ramaNA. According to Apte, ramaNA is "a lovely young woman" [Apte 1988: 465]. 429. Source: Amaru Shataka (82). rose hairs (jAta-pulakAm) - see comments. to No. 210. 430. Source: Amaru Shataka (27). 432. Source: "Veni-samhara" Bhattarayana. This poem reminds us of No. 333. It is about the pleasure of Viɧɭɧɭu and his wife Laksmi. The ruler of Garuda is in the original uraga-patau, lit. "Ruler of the king of birds," ie. Vishnu, the mount of which is the mythical bird Garuda, see comments. to No. 242. Shauri (shauri) is the name of Vishnu-Krishna according to the grandfather of Krishna Shura, the father of Vasudeva and the mother of the Pandava Kunti [Mahabharata 1987: 724]. 433. Also contained in the "Subhashita-ratna-bhandahar" (273.3). The poem is attributed to Valmiki. 434. Also contained in the "Subhashita-ratna-bhandahar" (295.123). 435. Also contained in the Subhashita-ratna-bhandahar (297.3). Gone is my nedrug-dream - in the original "dream" of the feminine gender: gatA nidrApi vairiNI. It is also contained in the Subhashita-ratna-bhandahar (309.3). The poem is attributed to 437. Bharavi. cool rays of the moon (kiraNAH hima-rashmer) - see comments. to No. 32. 438. The author of the poem refers to Kama. if you fall into the field of Pashupati (pashupater yadi lochana-gocharaM vrajasi) - a hint at the story of the burning of Kama Siva (see commentary to No. 18), one of whose names is Pashupapi, lit. "The lord of animals", originally this name was understood literally, and then it was interpreted as "the Lord of all creatures" [Mahabharata 1987: 720]. 439. Night turns into flour without you - in the original na tvAM vinA yAti ... rAtriH, lit. "Night

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

does not pass without you". love letter - in the original ana ~ Nga-lekhakaM, lit. "Letter of the incorporeal" (ie Kama). As is clear from sources, communication through letters (lekha) has been common in India since ancient times. Several texts in Sanskrit are devoted to the writing of letters, both official and private. The correspondence was handled by special letters (lekhavAhaka), and the letters were sometimes delivered to very remote places [Shastri 2010: 162-164]. 440. The poem is noteworthy in that it contains seven denominatives (original verbs, see [Kochergina 1996: 915-916]): kalpa-shatAyate ("lasts hundreds of kalpas"), manvantarAbdAyate ("becomes manvantara"), dahanAyate (" "sphulli ~ NgAyate (" burns like sparks "), garalAyate (" acts like a poison "), bhuja ~ NgAyate (" turns into a snake ") and duHkhAyate (" causes flour "). Kalpa (kalpa) - Hindus have a huge period of time equal to one day of Brahma, and according to the account of people this is 4,320 million years. It consists of 14 manvantaras [Hinduism 1996: 225]. Manvantara (manvantara) - a period of time equal to the period of Manu's life in the Hindu chronology, according to the account of people it is 306720 thousand years [Ibid: 261]. 441. Southern wind (dakShiNAnalaH) - see comments. to ʋ10. like stoning - in the original pAShANa-vat khara-sparsho. 442. Source: "Shringara-tilaka" (23) Kalidasy. O Rohini, you are the wife of the Moving Night (re rohiNI tvam asi rAtri-charasya bhAryA) - the favorite of the 27 wives of the moon god Soma (Moving at night - his epithet), the personification of the same name constellation, which includes Aldebaran and 4 stars of the constellation Taurus. According to the famous myth, due to the fact that of all his wives who were the daughters of Dakshi, Soma preferred Rohini, their father imposed a curse on the god of the moon, the consequence of which was the monthly decrease of the lunar disk [Hinduism 1996: 379; Shudhirchondra 2013: 288]. Is this worthy of a family man? - in the original kiM eSha kula-dharmaH. According to Apte, kula-dharma is "a family custom, a duty or custom, a duty or custom, peculiar to a family" [Apte 1988: 155]. 443. Also contained in the "Subhashita-vali" (1156). The poem is attributed to Bhattashankuk. The woman complains that in separation from her husband it is difficult for her to resist adultery. 444. Also contained in the "Subhashita-ratna-bhandahar" (355.7). 445. The author of the poem refers to a man who entered into a love affair with another's wife, the Poet then resorts to Alankara Vyatireka ("discrimination"), see comments. to No. 125. the marked spot (kala ~ NkinaH) - see the comment. to No. 90. 446. It is also contained in the Subhashita-ratna-bhandahar (298.44). The woman accuses the god of love Kama in that he hits it with his arrows, taking for Shiva (for the conflict of Shiva and Kama, see the comment to No. 18). At the same time, the details of Shiva's appearance are listed: cosmas (jaTA, most likely, it is a cocoon of braided (and often fastened with some ointment) hair worn by devotees [Ramayana 2006: 736]); then, a trace from the Kalakut poison on the neck (see comment to No. 284), a crescent moon on the head and ashes on the body. 447. poor thing - in the original varAktI. "The one with tears in her eyes " - in the original sajalAkShi-yuktA. 449. kadamba (kadamba) - see comments. to number 28. 450. Also contained in the "Subhashita-ratna-bhandahar" (188.12). 452. It is also contained in the Subhashita-ratna-bhandahar (297.13). "You are mine, and I am file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

yours, / Though we are apart from each other" - in the original ahaM iha sthitavatyapi tAvakI tvamapi tatra vasannapi mAmakaH. On the role of letters in the life of medieval Indians, see comments. to No. 439. 453. It is also contained in the Subhashita-ratna-bhandahar (345.21). The woman turns to her husband. even the cold rays of the moon burn (karAH himAMshor api tApayanti) - in Sanskrit poetry, the moon beams are always described as carrying coolness, see the comment. to No. 32. 454. The moon rays are scorching (karAH ... indor upatApayanti) - see comments. to No. 32, 453. 455. The author of the poem resorts to Alankar Vyatireka, see comments. to No. 125. Opposing husband is a man who can return, and youth, leaving forever. Cf. poem No. 448. If my desire is fulfilled by the goddess of compassion - in the original saMpashyati yadi dayAbhimato'bhilAShaH. 457. The author of the poem resorts to the Alankar artharantanyasa (lit. "The introduction of another thing"). According to Dundin, when using this Alankara, "speaking of some circumstance, another is mentioned that can be the confirmation of the first" (Kavyadarsha 2.169) (quoted in [Grinzer 1987: 87]). Unlike comparison, where two objects are compared, in arthadaranyas there is a comparison of two statements that, in the absence of a formal connection, can be connected by a union "How" [Ibid: 87]. Night lotuses - in the original kumuda-vanAnAM, about the lotus kumuda cf. comments. to No. 93. 459. It is also contained in the Subhashita-ratna-bhandahar (92.10). 461. It is also contained in the Subhashita-ratna-bhandahar (304.4). night lotuses languish on the moon (induM kairaviNI) - about the lotus kairava, see comments. to No. 110. Chataki waits for the arrival of clouds (meghaM chAtaka-maNDalI) - according to the belief, chataks feed exclusively on rainwater, see comments. to No. 580. The cuckoo yearns for mango (mAkandaM vi (= pi) ka-sundarI) - see the comments. to No. 9, 20. 462. As chakora - the lunar disk (yathA chakoras tu himAMshu-bimbaM) - see the comment. to No. 128. As chakravaka - the Lord of the day (yathA rathA ~ NgI diva- sAdhinAthaM) - i.e. The sun, see comments. to No. 236. As a peacock - raindrops (yathA mayUro jala-bindum) widespread in Sanskrit poetry image. 463. The sun is the female chakravakI divAkaraM - see comment. to No. 236. 468. Chataka craves moisture from the sky (chAtako gagane yathA / salilam kA ~ NkShate) - or crested cuckoo, Cuculus malanoleucus or jacobinus, a bird associated with the rainy season, because, according to legend, she can not drink by tilting her head, and therefore eats drops of rain, the expectation of which it symbolizes in poetry thirst, and later - love anguish. In Sanskrit poetry the image of chataka is also used as a symbol of pride, nobility and tragic destiny [Bhartrichari 1979: 113; Ingalls 2000: 218]. 469. hunter-nishada (niShAdo mR ^ igayA-sakto) - nisads are the common name of aboriginal tribes in Northern India, who lived in primitive conditions and engaged in hunting and fishing [Mahabharata 1987: 730; Apte 1988: 296]. file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

471. dissolute - in the original svairiNI, according to Apte, this word means "a loose or unchaste woman, a wanton woman, an adulteress" [Apte 1988: 633]. 472. Our love is like the love of the Chakravak (Avayos tAdR ^ ishI prItir yAdR ^ ishI chakravAkayoH) - the male and female chakravaka in Sanskrit poetry serve as the symbol of the inseparable couple, see the comment. to No. 236. On the role of letters in the life of medieval Indians, see the commentary. to No. 439. 473. It is also contained in the Subhashita-ratna-bhandahar (304.3). Brahman (brahma) - in Indian philosophy the world spirit [Hinduism 1996: 80-81]. The geese yearn for Manas (haMsAH ... mAnasaM) - see comments. to No. 359. Reva (revA) is another name for the Narmada River [Apte 1988: 472], flowing along the Deccan plateau and flowing into the Arabian Sea [Ulciferov 2003: 342]. shallaka (shallakI) - a kind of tree that is very fond of elephants [Apte 1988: 550]. 474. As a goose recalls similar cases of the water of Manasa (haMso yathA mAnasa-kShIranIraM) - see comments. to No. 359. departed on the way by sea - in the original potAdhirUDha, lit. "Ascended to the ship." native harbor - in the original nagaraM, lit. "city". the cuckoo always thinks of mango in summer (yat-kokila-nitya-vasanta-mAse) - see comments. to No. 9, 20. 475. Chakory - the Moon (chandramasaM chakorAH) - see the comment. to No. 128. 476. as a result of the accumulation of karma (karma-saMchaya-vashAt) - karma in Hinduism is the pattern according to which the status and destiny of man in the present is predetermined by his activity in the previous birth [Hinduism 1996: 230-231]. 477. It is also contained in the Subhashita-ratna-bhandahar (92.2). The disc of the Moon is far from the waters of the ocean - in the original kvendor maNDalam abdhiH kva, lit. "Where is the moon's disk and where is the ocean?" Kva ... kva ... this is a common design, which means incompatibility and opposition. The same construction is further used in this poem. to jasmine in the original mAlatI, see comments. to No. 55. to the distant lake of Manas fly a flock of peerless geese (dUre prasthita-haMsa-vR ^ indam atulaM ... saro mAnasam) - see comments. to No. 359. By the will of karma (karma-vashato) - see the comment. to No. 476. 479. By the will of Kama - in the original puShpa-yogataH, lit. "According to the will of the Flower [arrow]." 480. Dhanvantari (dhanvantari) is the legendary healer of the gods, who initially, apparently, was identified with the Sun. According to the legend of the churning of the ocean by the gods and asuras, it appears from the ocean waters with a cup of amrita in hands (Mahabharata I.16.37). Dhanvantari is attributed to the creation of Ayurveda [Myths 1991: 415]. 482. Divine vision is in the original divya-chakShur, clairvoyance acquired through austerity or given by the gods. Belongs to the number siddhi (siddhi) - the supernatural powers attained by yogis. The most famous example of using the "divine vision" is a description of all the details of the Battle of Kuruksetra at a great distance from the battlefield to King Dhritharashtra by his court narrator Sanjay. Similarly, in the Russian legendary history, thanks to the gift of "vision", Sergius of Radonezh in his monastery of the Holy Trinity described the monastery in every detail the battle on the Kulikovo field. I'M IN. Vasilkov draws attention to the fact that Sergius of Radonezh is considered the first Orthodox file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

mystic in Russia and could well be the first Russian hesychast, and the spiritual practice of hesychasm reveals a significant similarity with Indian yoga [Mahabharata 1998: 201]. 483. The lord of the creatures (prajApatiH) is the epithet of Brahma. 487. Source: "Megha-duta" of Kalidasa. Yaksha, the hero of the poem, laments in separation from his beautiful wife. Fate (kR ^ itAntaH) - see the comment. to No. 63. 488. Also contained in "Subhashita-vali" (1277). The rays of the Moon burn - in the original chandrash chaNDa-karAyate, the predicate is a denominative of chaNDa-kara, a "scorching beam". In Sanskrit poetry, the rays of the moon are always described as carrying coolness, see comments. to No. 32. In the poem and further there are denominatives: vajrAyate ("like lightning, razit"), sUchIkulAyate ("a tunic like a lot of needles"), sphUlli ~ NgAyate ("burns like sparks"), timirAyate ("turns into darkness" ), bhArAyate ("becomes unbearable" or "burdens") and saMhArakAlAyate ("turns on a light show "). According to Apt, saMhAra is "Destruction, especially of the universe, universal destruction" [Apte 1988: 574]. The author of the poem No. 440 also resorts to this "massive" use of denominatives. 489. Also contained in the "Subhashita-vali" (1362). The poem is attributed to Nidradaridra. Fate - in the original vidhinA (instrumental case), see comments. to No. 63. 490. Also contained in the "Subhashita-ratna-bhandahar" (287.1). The poem is attributed to the poetess Shilabhattarike. 492. Also contained in "Subhashita-vali" (1251). The poem is attributed to Deepak. what is the point in this unhappy life - in the original jIvita-vyasenena kiM. 493. Source: Amaru Shataka (162), also Sharangadhara Paddhati. 494. Source: "Chaura-panchasika" of Bilhana. The thief describes the beauty of the princess. champaka (champaka) - see the comment. to number 9. With a number of hairs above the navel (roma-rAjIM) - see comments. to No. 152. Palmira (tAla) - see the comment. to ʋ 30. 496. The poet likens his sufferings in separation from Rama's beloved suffering (Raghava is the family name of Rama as the descendant of Raghu), from whom Ravana's king of rakshasas abducted Sita, the husband, see the comment. to No. 374. 497. Slow and swinging gait, / As if the magnificent king of elephants (shrImad-virada-bhUpAlaLILA-gatir alasayA) - see the comment. to No. 262. The author of the poem resorts to the Alankar anuprasa (see comment to No. 10): bhUpAla-lIlA ... alasayA ... bAlA lolAkShI madAli ~ Ngana-lAlasayA. 498. Source: "Shringara-shataka" (38) Bhartrihari [Bhartrichari 1979: 83]. young beauty - in the original sundarINAM yauvanaM, lit. "The youth of the beauties". 506. It is also contained in the Subhashita-ratna-bhandahar (298.4). 500. Born in thought (manasijena, in the original in the instrumental case) is the epithet of the god of love of Kama. lost power - in the original adhR ^ iti, according to Apte, this word stands for "want of firmness or control, looseness" [Apte 1988: 15]. 506. It is also contained in the Subhashita-ratna-bhandahar (298.4). 507. The house - in the original vasatI, should stand here in the form of an accusative (accusative) - vasatIm. file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

509. Also contained in the "Subhashita-ratna-bhandahar" (302.41). The word nAma, occurring in the original, must have been a scribal error, distorted by mama "my". Also contained in "Subhashita-vali" (1314). The poem is attributed to Jayadeva and 510. resembles No. 446, only here words are attributed to a man, not to a woman. The details of the shape of Shiva are listed: a snake, a trace from the halahal poison on the neck (see note on No. 284) and ash deposited on the body. kuvalaya (kuvalaya) - see the comment. to No. 116. Also contained in the "Subhashita-ratna-bhandahar" (1357). The poem is attributed to 511. Jayadeva. a mouth like a bimba (bimbAdharo) - see the comment. to No. 120. 512. The fragrance of jasmine flowers - in the original vAsantI-druma-kusuma- saurabhya ... vAsantI - according to Apte, this is a kind of jasmine with fragrant flowers [Apte 1988: 504]. Oh Hari, Hari! (hA hA hA hA hA hari hari hari) - cf. Rus. exclamation: " Oh my God!". 513. The author of the poem resorts to the Alankar anupras (see commentary on No. 10) inventing thus artificial forms of words: varIvartti ("sends rains"), sarIsartti ("blowing the wind"), narInartti ("dances") and marImartti ("parting with life, dying"). 514. So soon - in the original shIghra-gAbhinI, in the text a mistake of the scribe is possible, correctly shIghra-gAminI. 515. Source: "Shringara-shataka" (14) Bhartrihari [Bhartrichari 1979: 79]. 516. from the grief of separation the body of Rama turned black (viraha-duHkhena rAmaH shyAmatanus) - see comments. to No. 374. the male chakravaki without a friend in the forest sadly screams (chakravAkIM vinA chakrI tathA krandati kAnane) - in Sanskrit poetry the male and female Chakravaka are portrayed as an inseparable couple, see comments. to No. 236. 518. Source: "Shringara Shataka" (7) [Bhartrichari 1979: 79]. people with good taste - in the original sahR ^ idayaiH. According to Apte, one of the meanings of sahR ^ idaya is "an appreciator (of merits and so on), and man of taste" [Apte 1988: 595]. 519. Also contained in the "Subhashita-ratna-bhandahar" (386.77). The poem is attributed to Bhojarajakawi. cold-shining Moon (shIta-karaH shaahI) - see comments. to No. 32. 521. The poem lists the signs of the soon return of her husband. From the minute to the minute in the original muhUrtair. Muhurta is a period of time equal to 48 minutes [Kochergina 1996: 517]. 522. On the body rose hairs (romA ~ ncha) - see comments. to No. 210. 524. My clothes fell to the ground (yAtaM cha dharAtale chIraM) - - according to D. Ingolls, the exposure of the heroine is intended to demonstrate her shyness, as well as the charm, and when her clothes "fall off by themselves", this indicates her unsophisticated and sincerity of the senses [Ingalls 1965: 200; Ingalls 2000: 153]. hairs rose on the body (kaNTakitA ~ Ngas) - see comments. to No. 210. 525. Also contained in the "Subhashita-ratna-bhandahar" (318.2). The poem is attributed to Somakawi. 526. Also contained in the "Subhashita-ratna-bhandahar" (245.124). The author of the poem asks a rhetorical question why it is the crow that heralds the return of her husband, if there are many other, more "aesthetic" birds. chakora (chakora) - see the comment. to No. 128. 530. Also contained in the "Subhashita-ratna-bhandahar" (286.1). calming down - in the original nirvANaM. In Sanskrit the word nirvANa has two main meanings; the first is file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

domestic, "comfort, extinction," and the second is a philosophical one, denoting a state of supreme bliss associated with freedom from rebirth [Apte 1988: 295]. This ambiguity is played out in this poem. 531. It is also contained in the Subhashita-ratna-bhandahar (286.2). The poem is attributed to Akashapoli. The author admits that thanks to his beloved woman he has found the meaning of life. Milk ocean (kShIra- sAgara ...) - see the comment. to No. 175. This mortal world is in the original 'pIha saMsAaraH. Sansara is the most important concept of the Hindu worldview associated with the belief in reincarnation or the transmigration of souls, in a broad sense, a synonym for phenomenal existence in general [Indian philosophy 2009: 712-713]. The author also resorts to the Alankar anupras (see comments on 10): kallololalochanayA ' nayA. 533. The venerable woman - in the original purandhryA (the word stands in the instrumental case), see the comment. to No. 122. 535. Source: "Amaru Shataka" [Indian poetry 1978: 147; Classical poetry 1977: 64]. 536. The author of the poem resorts to the Alankara prachelik, see the comment to No. 135. The serpent mentioned in the text is a man, and the mantra "ha ha" is a cry women during amorous amusements. simpleton (mugdhe) - see comments. to No. 103. Your lips in wounds (savraNo 'yamadharaM) - see comments. to No. 123. 537. With the mouths of rdnye, like bimba fruits (bimbAdharoShTha-mukhI) - see comments. to No. 120. Raksasa passions - in the original rati-rakShasena (the word in the instrumental case), here is meant the lover of this woman, about the Rakshasas, see the comment. to No. 315. Traces of nails and teeth (nakhair vilikhitaM dantaish cha khaNDI-kR ^ itaM) - see comments. to No. 123. 538. gait, like the procession of an elephant during the estrus (mattasyaiva gajasya yasya gamanaM) - see comments. to No. 167, 262. 540. to the water source - in the original billa, according to Apt, this is "particularly, a basin for water round the foot of a tree" [Apte 1988: 392]. 541. showing signs of passion - in the original rati-hAva-bhAva-vilasach ... According to Apte, one of the meanings of the word hAva is "any feminine coquettish gesture is calculated to excite amorous sensations, dalliance (of love), blandishments" [Apte 1988: 639] . light golden, just champaka (champaka-gauravAd) - champaka flowers have a dark yellow or orange color, see comments. to No. 9. 543. stepping with goose's gait (haMsa-gatyA vrajantI) - see comments. to No. 259. nupuras (nUpurau) - see comments. to No. 259. betel (tAmbUla) - see comments. to No. 56. The secret hall (guhya-shAlAM) is the same as the "house of delights", see the comment. to No. 76. 544. kinnari (kinnarI) - f. from Kinnar (the letter "what kind of person?"), the class of semidivine beings, are portrayed as people with horseheads (centaurs on the contrary), sweet-sounding singers and musicians [Hinduism 1996: 236]. vidyadhari (vidyAdharI) - f. from the Vidyadhara (literally, "the possessor of knowledge"), the class of semi-divine beings, the companions of Kubera, known for their beauty and abilities to change their appearance at will and fly through the air. Vidyadhar women willingly enter into a love affair with mortal men [Hinduism 1996:

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

128]. nagi (nAgAH) - half-human-half-lives inhabiting the underworld. Their women are famous for their beauty. One of Arjuna's wives was the princess of Ulupi's naga [Hinduism 1996: 299]. Gauri (gaurI) is the wife of Shiva Parvati. Spouse Hari (hari-sundarI) - Lakshmi. Lady of speech (vAgeshvarI) - Saraswati, see comments. to No. 2. 545. Yakshini (yakShiNI) - f. from the yakshah. Yakshi - mythical beings, deities of the lower order, are the guardians of the kingdom of the god of the wealth of Kubera [Hinduism 1996: 480]. gandharvI (gandharvI) - f. from the Gandharva. The Gandharvas are semi-divine beings, young dancers, singers and musicians in the paradise of Indra [Hinduism 1996: 142]. siddha (siddha) are semi-divine beings with special supernatural powers [Mahabharata 1987: 741]. a woman who can fly across the sky - in the original khecharI. According to Apte, it is a semidivine woman, able to fly through the air [Apte 1988: 174]. apsara (apsarA) - heavenly courtesan and dancer. Apsary entertain the celestials and 546. warriors who died the death of the brave on the battlefield, in the paradise of Indra and also, on behalf of the gods, they seduce and distract from the asceticism of the hermits, whose power threatens to become excessive [Hinduism 1996: 59]. 547. With the gait of an excited elephant (matta-mAta ~ Nga-gamanA) - see comments. to No. 173, 262. 548. wounded pride - in the original mAnaM, see comments. to ʋ362. about the simple (mugdhe) - see the comment. No. 103. 549. It is also contained in Subhashita-vali (2366) [Subhashitavali 2007: 113]. love pleasures in the original alomakaM bhagaM, lit. "Bosom without hair." together with dumplings, sesame seeds and water (piNDa-sannidhau tilodakair mishram) - the funeral rites of Hindus include an offering to the deceased of rice balls or dumplings (piNDa), as well as grains of sesame and water [Hinduiz 1996: 328, 464-465; Pandey 1990: 211-212]. As stated in Garudapuran (II.5.52): "After the offering, the sons must bathe in their clothing. Then, when calling gothr, one should make an offering of water with sesame "(quoted in [Tyulina 2003: 135]). Also, the vessels with sesame sacrifice to the brahmanas (II.4.31, 40). 550. The halls of Smara (smara-mandriraM) - see comments. ʋ 247. a bottom clothes - to the original paridhAna according Apte, this word refers clothes and especially lower [Apte 1988: 321]. 551. The stepping gait of an excited elephant (matta-mAta ~ Nga-gAminIM) - see the comments. to No. 173, 262. 554. with nurupam on the legs (nUpura-saMyutAM) - see comments. to No. 259. With the lips, like a bimba fetus (bimbohThIM) - see the comment. to No. 210. 555. Source: "Amaru Shataka" (40) [Classical poetry 1977: 63]. Hairs rose on the body (prodbhuta-romodgamA) - see comments. to No. 210. We slept a belt and clothes (vigalat-kA ~ nchI-praveshAmbarA) - see comments. to No. 524. The author of the poem resorts to anusrana anankra (see comments on No. 10): mA mA mAnada mAti mAm. 556. Source: attachment to Chaura-panchasike (28). at the lion - in the original mR ^ igendra, lit. "The king of beasts" [Apte 1998: 445]. 560. "reverse" way of coping(viparIta-rataM) - a popular pose in Indian erotology, which is file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

devoted to the whole chapter in the Kama Sutra (II.8.17-18) [Vatsyayana 1993: 75-76]. A woman during such coition is on a man and plays a very active role. "Having dismissed the hair [decorated] with flowers, interrupting laughter with sighs, pressing his chest chest, to touch the faces, again and again tilting his head, she repeats the same actions that he had previously done himself, and. laughing, threatening, delivering retaliatory blows, says: "The defeated, I myself throw [you]" (quoted in [Ibid: 75]). As D. Ingolls writes, the scenes of "reverse" coition, which are very far from the western notions of decency, for the Indian reader have both sentimental and erotic value, and they are called to emphasize the closeness between lovers, which comes from deep feelings, more than enjoy yourself (Ingalls 1965: 200; Ingalls 2000: 158]. Let us note that some traditions (for example, Judaism and Catholicism) are negative towards this practice [Vatsyayana 1996: 154]. 561. In Vatsyayana this position is described in the chapter "About special pleasures": "When, imitating a bull, they fall on a woman on the ground, like a four-footed one," cow "(cited in [Vatsyayana 1993: 73]). 562. Source: "Smara-dipika" (7.82). 564-576. Source: "Smaradipika" (7.83-96 ). 577. Source: Smara-dipika (7.101). 578. Source: "Smara-dipika" (7.103). 579. marks of nails (vyutpatArpita-nakhaM) - see comments. to No. 123. 580. Also contained in the "Subhashita-ratna-bhandahar" (333.4). The poem is attributed to Sharngadhara. nupuras (nUpura) - see comments. to the number 259. chataka (chAtaka) - see comments. to No. 468. 582. Source: "Shringara-tilaka" (1.27) Rudraty. stray breath (sIt-kR ^ itam) - see comments. to No. 281. Traces from the nails (ghAtair nakhaish chA ~ NkitaM) - see comments. to No. 123. 583. It is also contained in the Subhashita-ratna-bhandahar (331.1). If you do not forget yourself ... during samadhi - in the original samAdhau cha mano 'yaM na lIyate. Samadhi (samAdhi, literally "concentration") is the concentration of attention, contemplation for the purpose of cognizing the object from within, without the mediation of the sense organs and conceptualizing thought. It is widely used in all systems of Indian philosophy, but especially in Buddhism and in the yoga of Patanjali. In the state of samadhi, there is no longer a center, an empirical "I", from which cognitive activity comes, nor is there an object separate from it [Indian philosophy 2009: 690]. 584. Two hearts become one - in the original dvayor eka-chittatA. like soyaet cheaters in love - in the original kAma-shaThayor iva saMgamaH. 585. What is inaccessible to the one who loves? - in the original snehasya kiM duShkaram. 586. Source: commentary on "Chaura-panchasike" (7). On the "reverse" co-operation, see the comment. to No. 560. ringing nupur (nUpurArAve) - see comments. to No. 259. turns to a man - in the original puruShAyate, denominativ (otymeniv verb) from puruSha "man". 587. he breathes intermittently (sIt-kR ^ ita) - see comments. to No. 281. 588. Source: Shringara Shataka (25) Bhartrihari [Bhartrichari 1979: 81]. ID Serebryakov file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

translates: "with loose braids", although here the word dhammilla, meaning a bunch of hair, is used, see the comment. to No. 314. 589. Also contained in "Subhashita-vali" (2120). The poem is attributed to Bhattabana. 590. Also contained in the "Subhashita-ratna-bhandahar" (334.1). ringing nupur (nUpuradhvaniH) - see comments. to No. 259. Itself plays the role of a man - in the original puruShAyate, see comments. to No. 586. 592. Source: "Smara-dipika" (7.101). " Hamsa-lilaka" - in the original haMsa-lIlaka, means letters. "Goose game". In the traditional commentary by Shankaramishra on the Gita Govinda, the author, referring to the erotological treatise Rati-rahasya, explains the verse of the poem 7.19, which deals with the passionate movements of Radha, "attacking the chest" of the beloved, as a description of a certain posture during copulation [Syrkn 1996 : 19]. 595. Source: "Amaru Shataka" (3) [Classical poetry 1977: 60]. drawings from the body - in the original visheShakaM, according to Apte, these are figures on the face and body made with colored substances [Apte 1988: 522]. Hari (hari) is the name of Vishnu-Krishna, which paired with Hara (Shiva) represents the unity of the creative, supporting and destructive principles [Mahabharata 1987: 724]. Hara (hara) - the name of Shiva, meaning literally "the demolisher, the destroyer", is associated with his role as destroyer of the universe at the end of the world period [ibid: 724]. 596. Cf. with a poem No. 339. 597. Milk soup - in the original dugdha-rasa-yUsha. 598. Also contained in "Subhashita-vali" (598). 599. Also contained in the "Subhashita-ratna-bhandahar" (337.1). The poem is attributed to Sharngadhara. 600. Also contained in the "Subhashita-ratna-bhandahar" (325.23). bedchamber - in the original garbha-bhavana ... 603. looked at the lamp (dIpam AlokayantI) - see comments. to No. 328. 604. The best among the fine - grained - in the original subhruvAM ... ketuH, lit. "The banner of fine-browed", the word ketu in addition to its primary literal meaning also means "the best, the first, the guide ..." [Apte 1988: 162]. anger - in the original mAna, see the comment to No. 362. 605. Also contained in the "Subhashita-ratna-bhandahar" (321.65). The poem is attributed to Vidyapati. I am surrounded on all sides by darkness - in the original sarvAH mamAndhaH dishaH. 606. Source: "Shringara-tilaka" Kalidasy. Cf. with a poem number 90. 607. Source: Amaru Shataka (133) [Indian lyrics 1978: 149]. Vidyakara (No. 671) is attributed to Shatananda [Ingalls 1965: 224]. in the "Subhashita-ratna-bhandahar" (320/42). The poem is 608. Also contained attributed to Banabhatta. 610. Bowing to the feet (pAda-praNAmair) - as Yu.M. notes. Alikhanov, if during a love quarrel the persuasion turns out to be useless, the hero resorts to the last resort to return the favored one's position - falls before her on his knees or falls at her feet. After that, she usually bursts with tears, which means: her anger subsided, and the man is forgiven [Indian lyrics 1978: 54]. According to file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Vatsyayana, "even a shy, even very angry woman concedes when she falls to her feet - this is known to everyone" (Kama Sutra III.2.25.11) (cited in [Vatsyayana 1993: 84]). 611. Source: Amaru Shataka (39) [Indian lyrics 1978: 145]. who fell at your feet (padAnataM) - see comments. to No. 610. 612. Source: Amaru Shataka (53). about the simple (mugdhe) - see the comment. to No. 103. 613. Source: "Amaru Shataka" (57) [Indian lyrics of 1878: 146]. Also is contained in the "Subhashita-ratna-kosh" (653) [Ingalls 1965: 221]. 615. Source: Amaru Shataka (91). 617. Also contained in the "Subhashita-ratna-bhandahar" (338.30). The sky in the east became reddish-golden - in the original adhUtat prAchI pi ~ Nga-rasa-patir, lit. "The east became the ruler of a reddish-golden color." like a learned man / Among the crowd of village peasants - in the original budha-jana iva grAmya-sadasi. Like grAmya means like "Rustic", and "rude, vulgar" [Apte 1988: 196]. On the opposition of "urban" and "rural" in the Sanskrit literature, see comments. to No. 102. 618. cleans - in pavitrayati original, denominativ (otymonny verb) from pavitra «cleansing» [Apte 1996: 275]. 619. Cf. with a poem number 339, 596. Spitting betel (tAmbUlaM chodgIrantI) - see comments. to No. 56. from the innermost chamber - in the original guhya-gehAn. 621. Source: "Shringara-tilaka" (2.22) Rudraty. Her eyes do not blink, like the eyes of a goddess (devIvAnimiShekShaNA) - an unblinking gaze, along with a lack of sweat, the immovability of the flower garlands wrapped around her neck, the lack of contamination and the ability to soar in the air, this, according to ancient Indians, five external attributes of divinity [Mahabharata 1987: 627 ]. with the hairs that rose on the body (romA ~ nchitA) - see comments. to No. 210. vna (vINA) - ancient seven-stringed musical instrument, Indian lute. One of the subjects closely associated with the erotic appeal of a woman [Mukundoram 1980: 192; Apte 1988: 527; Ingalls 1965: 165; Ingalls 2000: 129]. 622. Source: Amaru Shataka (101) [Classical Poetry 1977: 66]. The knot itself was untied (vigalitA nIvI svayaM) - about the "self-loss" of the clothes of the heroine, see the comment. to No. 555. 623. The palaces of Madana (madana-mandira) - see comments. to No. 247. To kiss the face like a bee (vadana-chumbita-ShaTpada) - see the comment. to No. 326. The author of the poem resorts to the Alankar anupras (see klmentment to No. 10): madana-mandira-mardana. 625. Source: "Shringara-tilaka" (1.75) Rudraty. 627. Burned by fire from the eye of Hara (hara-nayana-hato) - see comments. to No. 18, 595. 629. Source: "Shringara-tilaka" (7) Kalidasy. betel (tAmbUla) - see comments. to No. 56. about the stepping gait of Indra elephants (gajendra-gamane) - see comments. to No. 262. 630. In the house of pleasure (rati-mandire) - see comments. to No. 76. with the daitya mentor (daitya-guruH) - i.e. Ushanas of the Caucasus. 631. Standing with a pitcher on the thigh (ghaTena kaTi-sthitena) - see the comment. to No. 364. About stepping elephant gait (gaja-gAminI) - see comments. to No. 262. 633. About the

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

comparison of a woman with a lake, see the comment. to No. 314. The author of the poem resorts to Alankara praechelica, see comments. to No. 135. 634. Rudra (rudra) is the Vedic name of Shiva [Hinduism 1996: 379-380]. intended for the delights of these men - in the original su-puruSha-rati sevyaM. 639. Lingam - in the original sAdhanaM [Apte 1988: 597]. exercise - in the original prayoga, the term is contrasted shAstra "theory" [Apte 1988: 367]. 640. The first day (pratipan) - refers to the first day of the light or dark half of the month. The month of the traditional Hindu calendar consists of 30 lunar days (tithi), divided into two halves (pakSha): light (shukla) and dark (kR ^ iShNa), depending on the arrival or decrease of the moon, so the bright half begins with the new moon (AmAvAsya) , and the dark one - from the full moon (paurNamAsya) [Hinduism 1996: 419]. 641. Let the nails mark (karajair vilikhen naraH) - see comments. to No. 123. 643. Like a moonstone, / Pleased with the moon by the rising (chandra-shilA yathA / chandrodaya-prahR ^ iShTA) - see comments. to No. 295. 648. Let leaves marks of nails (vilikhet) - see comments. to No. 123. 655. In the dark half (kR ^ iShNa-pakShe) - see the comment. to No. 640. 660. Source: Rati Rahasya (2.1). In the light half ... in the dark half (shuklAshukla-vibhAgato) see comments. to No. 640. 661. Source: Rati Rahasya (2.2). beat in the chest with their fists (muShTyA vakShasi tADayanti) - see comments. to No. 284. 663. Source: Nagara-sarvasva (16.1). 664. Source: Nagara-sarvasva (16.2-3). 665. Source: Rati Rahasya (9.39, 44). for the festival of love - in the original suratotsava. 668. Source: commentary on "Rati-rahasya" (4.1) Kanchinathi. 669. Source: Nagarasarvasva (16.4-5). 672. Source: Nagara-sarvasva (16.6). 673. Source: Nagara-sarvasva (16.7). 676. The source of Nagara-sarvasva (16.8). Vatsyayana also advises to take care of the beloved woman, and especially to the newlyweds. His instruction is based on the premise that happiness in love is impossible, if only one side is satisfied. As stated in the Kama Sutra (III.2.25.5-6): "... approaching, do nothing by force. For women are like flowers and require very gentle treatment. When, without awakening confidence, forcibly approach them, they feel hatred for an amalgamation. Therefore, we should treat them kindly "(cited in [Vatsyayana 1993: 84]). 678. The child will embrace (bAlasya chAli ~ NganaM) - a woman hugs and kisses the child in the presence of her beloved, in order to demonstrate her feelings and provoke a response, cf. "Kama Sutra" (III.3.27.32) [Vatsyayana 1993: 88]. 679. Upon seeing the child, he will be kissed (dR ^ iShTvA bAlaka-chumbanaM) - see comments. to No. 678. 687. A connoisseur of beauty - in the original rasika, according to Apte, this is "a man of taste or feeling, an appreciator of excellence or beauty" [Apte 1988: 466]. As VA Efimenko writes, "Rasavant, i.e. a man with a taste, a connoisseur and a esthete, is always able to find something

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

new for himself in the dialogues of an old and very familiar play, to grasp how the soul of a talented artist vibrates in the canonical features of the image of the goddess, to appreciate the depth of his enjoyment "(quoted in [Efimenko 1996 : 49]). 688. has good qualities - in the original dhatte guNAn sAttvikAn, lit. "Sattvic qualities." Sattva is one of the gunas (guNAH), in Hinduism these are the three mutually correlative ontological aspects of any natural being, the interaction and positing of the results of interaction, these are the three components of the power of prakriti or maya, the essence of which is the driving force, the mechanism of the world-manifestation. There are three gongs: 1) tamas is the source of apathy, inertia, ignorance and illusion; 2) rajas (rajas) - active, active, stimulating beginning, the source of all action; 3) sattva - the basis of peace, goodness and goodness [Indian philosophy 2009: 319320; Hinduism 1996: 154 - 155]. 694. The fold is in the original varA ~ Nga, lit. "The best part of the body." It is curious that the same word denotes the head [Apte 1988: 492]. 700. in public - in the original sabhAyAM, lit. "In the meeting". 705. Also contained in the "Subhashita-ratna-bhandahar" (366.19). The poem is attributed to Sharngadhara. dies at the time of his departure (mriyate mR ^ ite) - a hint of sati, the custom of the widow's self-immolation on the funeral pyre of her husband, which begins in AD. widely spread in Indian society [Hinduism 1996: 395]. This and the further poems in this section can be compared with the description of the ideal wife in "Kuttani-mate" (440-445) Damodaragupta [Shastri 2010: 106]. 706. Also contained in the "Subhashita-ratna-bhandahar" (366.1). In domestic affairs is adept (dakShA) - cf. "Kama Sutra" (IV.1.32.2-8, 10-12, 31-35) [Vatsyayana 1996: 94-96]. 707. Paradise is in the original svarga, in Hindu mythology, the Paradise of Indra, located on the summit of Mount Meru. His capital is Amaravati, where Indra's palace is located, in which marutas, rishis and hosts of gods serve him, and the apsars and gandharvas delight him with music and dancing. (Mahabharata II.7) Apart from gods and sages, svarg'y at the invitation of Indra can visit mortal heroes, and after death, the brave warriors who fell on the battlefield come here . They enjoy life here before As long as the time for their new incarnation in the world of people does not come (Myths 1992: 419-420). 708. Also contained in the "Subhashita-ratna-bhandahar" (367.35). The poem is attributed to Bilhana. Cf. "Kama Sutra" (IV.32.36-40) [Vatsjana 1996: 96]. to the wives-rivals (sapatnIShu) in India polygamy was already known at the time of the Rigveda. Polygamous marriages are mentioned very often in the sources, and it can be assumed that they were quite common in those sections of society (brahmanas, kings and other aristocrats, rich merchants) who could afford it. Naturally, in such families, wives often had conflicts. In some dramas from court life (eg Malyavika and Agnimitra), the jealousy of the elder wife of the king is often portrayed to a young rival [Bash 1977: 187-188]. And Damodaragupta in "Kuttani-mate" describes the unenviable situation of a man who is at odds with all his five wives [Shastri 2010: 106]. Due to the existence of such problems, the author of "Kamasutra" tries to regulate the relationship between wives, in particular: "The younger wife should look at another wife, 99-100].

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

709. Also contained in the "Subhashita-ratna-bhandahar" (367.36). Cf. "Kama Sutra" (IV.1.32.11-12, 17) [Vatsyayana 1993: 94-95]. 710. Also contained in the "Subhashita-ratna-bhandahar" (367.29). 711. A chaste woman - in the original mahAsatI, according to Apte, this is "a very chaste woman" [Apte 1988: 432]. 713. Washing his feet (pAda-shauchaM cha kR ^ itvA) - cf. Kama Sutra: "Having sent a servant girl, she herself is washing his feet" (IV.1.32.12) [Vatsyayana 1993: 94]. 715. Senses - in the original bhAvaM, about this term, see the comment. to No. 132. 716. In the forest or to the palace - in the original vane vA bhavane'pi vA. 717. Skilful in domestic affairs (dakShA) - see comments. to No. 706. the husband is true - in the original pati-vratA, according to Apte, "devoted, faithful and loyal wife, and chaste and virtuous wife" [Apte 1988: 312]. who gives birth to sons - in the original putriNI. The birth of the son as the greatest grace is already spoken in the hymns of the Rigveda. It was considered necessary to have at least one son: performing funeral rites, he ensured the safe existence of not only his father, but also his distant ancestors, in another world. Therefore, religion encouraged the appearance of male offspring [Bash 1977: 173]. "For one who has no sons, there is no way to heaven, and again - No! [Therefore] in any way it is necessary to achieve the birth of a son "(Garuda Purana II.3.127) (quoted in [Tyulina 2003: 127]). During pregnancy, even a special ritual of pumsavan was performed, designed to ensure the birth of a boy [Pandey 1990: 76-78]. 718. Cf. Laws of Manu (5.154) [Laws of Manu 1992: 115]. 719. Cf. Laws of Manu (5.148) [Laws of Manu 1992: 115]. 720. See comments. to No. 709. 722. The freedom of women, especially those belonging to higher castes, was somewhat limited. In the Kamasutra (IV.1.32.15) it is said that the wife can attend wedding receptions, marriage ceremonies, sacrifices, be in the campaign of girlfriends and go to the temple only with the permission of her husband [Vatsyayana 1993: 94]. According to "Arthashastra" (59.3), a woman who, against the will of her husband, takes part in entertainments and feasts, must be fined [Arthashastra 1993: 167]. In contrast to this, in Kashmir of the 8th-9th centuries, as it is clear from the Kuttani-mata of Damodaragupta, women, even women from noble families, were given considerable freedom of movement [Shastri 2010: 108]. 723. See comments. to No. 709. 725. Also contained in the "Subhashita-ratna-bhandahar" (332.7). 726. Also contained in the Subhashita-ratna-bhandahar (332.7). Cf. "Kama Sutra" (IV.1.32.36-40) [Vatsyayana 1996: 96]. 728. Cf. "Kama Sutra" (IV.1.32.22) [Vatsyayana 1996: 95]. 729. "Arthasastra" (59.3) establish the penalty of a fine or lashes for men and women who are not married, they are engaged in flirtation and are "obscene talk" [Arthasastra 1993: 167]. 730. Also contained in the "Subhashita-ratna-bhandahar" (332.7). A source: "Shringara Shataka" (24) Bhartrihari [Bhartrichari 1979: 81]. in the "Subhashita-ratna-bhandahar" (364.5). The poem is 735. Also contained

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

attributed to Bhagavatyas. 736. Also contained in the "Subhashita-ratna-bhandahar" (367.1). Jara (jarA) is the name of the demoness [Apte 1988: 217]. 737. what they say - in the original jihvAyAM, lit. "In the language." 738. Source: Saducti-karnamrta. The poem is attributed to the poetess Vidier. 739. Also contained in the "Subhashita-ratna-bhandahar" (365.66). in the "Subhashita-ratna-bhandahar" (368.21). The poem is 740. Also contained attributed to Bilhana. 742. Three folds above the navel (tri-vali) - see comments. to No. 179. 743. It is also contained in Subhashita-vali (2342) [Subhashitavali 2007: 108]. The poem is attributed to Damodaragupta. secret love pleasures - in the original chaurya-rati, according to Apte, it is "secret sexual enjoyment" [Apte 1988: 211]. 744. Also contained in the "Subhashita-ratna-bhandahar" (367.4). For voluptuous women - in the original jaghana-chapalAyAH, lit. "For the swaying hips" [Kochergina 1996: 217; Apte 1988: 214]. 745. Also contained in "Subhashita-vali" (2334). The poem is drunk by Rudrat. The woman wants the traveler to stay with her for the night (although she hastens in words), and informing her that her husband is away, and that her mother-in-law is blind and deaf, wants to give him courage. Poems of this type, ascending, apparently, to some samples of ancient prakritskoy poetry, were used great popularity in the IX-X centuries. and were highly regarded, for example, by the outstanding theoretician of the poetry of the ninth century. Anandavardhana [Indian lyrics 1978: 201]. poor thing (varAkI) - the type of heroine in Sanskrit poetry, cf. prakrta "varai". 746. Also contained in the "Subhashita-ratna-bhandahar" (371.86). with the lips of a servant (dAsI-mukhena) - etiquette required that a noble woman talk to an unknown man not directly, but through a servant or girlfriend. 747. Also contained in the "Subhashita-ratna-bhandahar" (367.6). secret love affair (chauryasuratasya) - see comments. to No. 743. DICTIONARY NAMES The incorporeal (ana ~ Nga) is the epithet of the god of love of Kama. According to the legend, Shiva incinerated Kama with fire from the third eye, because he, on behalf of the gods, tried to arouse in him a passion for the beautiful Parvati. Brahma (brahmA) is the creator god, the first member of the Hindu triad of the higher gods (Trimurti). Bhava (bhava, the letter "real") is one of the names of Shiva. Bhavani (bhavAnI, lit. "real") is one of the names of the wife of Shiva Parvati. Vishnu (viShNu) is the god-keeper of the universe, the second member of the triad of the higher gods of Hinduism (Trimurti). Known primarily for its descents to the earth (avatars) in order to combat the demons. The Lord of the day (dinesha) is the epithet of Surya, the sun god. file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

The Lord of Obstacles (vighna-rAjaH) is the epithet of Ganesha. Ganesha (ganesha) is the son of Shiva, revered as a deity of wisdom and education. It is depicted with an elephant head and a fat belly. Since the appeal to Ganesha, as a rule, works begin in Sanskrit. Gauri (gaurI) is the wife of Shiva Parvati. The dolphin -sign (makara-ketu) is one of the epithets of the god of love of Kama, on whose banner the dolphin (makara) is depicted. Kama (kAma) - the god of love, the analogue of the Greek Greek Eros, is portrayed as a fine youth, armed with a bow from a sugar cane with a string of bees and with five flower arrows. Kamaduk (kAma-dugdhA) is a magical cow that fulfills all desires of its owner Kapalin (kapAlI, "wearing a skull") is the epithet of Shiva. Dripped (kapAlI) - the epithet of the wife of Shiva. Krishna (kR ^ iShNa) is one of the main incarnations of Vishnu. The Krsnaites are revered as the supreme deity. Lakshmi (lakShmI) is the goddess of beauty, wealth and happiness, the consort of Vishnu. Usually depicted as a beautiful woman, sitting on a lotus and with a lotus in her hand. Lambodara (lambodara, lit. "Vislobruck") - one of the names of Ganesha. Madana (madana, literally "intoxicating", "driving mad") is one of the names of Kama. Manmatha (mAnmatha, literally "embarrassing soul") is the epithet of the god Kama. Manobhava (manobhava, literally "arisen in the heart") is the epithet of Kama. Murari (murAri) is the epithet of Vishnu and Krishna. Parvati (pArvatI) - the wife of Shiva, is portrayed in the image of a beautiful young woman. Pashupapi (pashupati, the letter "lord of animals") is the name of Shiva, originally this name was understood literally, and then it was interpreted as "the Lord of all things" Pinakin (pinAkin) is the epithet of Shiva, the owner of the Pinaka bow (pinAka). Ravana (rAvana, "roarhead") is a ten-headed demon-raksas who abducted Sita and was killed by her husband Rama. Rahu (rAhu) is a demon of the solar and lunar eclipses. Saraswati (sarasvatI) is the goddess of speech and wisdom, the patroness of scientists and poets. It is portrayed in the image of a beautiful woman dressed in white and with a musical instrument of wine in her hands. Smara (smara) is one of the names of the god of love of Kama. Hara (hara) - the name of Shiva, meaning literally "the demolisher, the destroyer", is associated with his role as destroyer of the universe at the end of the world period. Hari (hari) is the name of Vishnu-Krishna, which, together with Hara (Shiva), represents the unity of the constructive, supportive and destructive principles. Chandi (chaNDI) is the name of Parvati in her formidable manifestation. The flower -shot (kusuma-vishikha) is the epithet of the god of love Kama, armed with a bow with flower arrows. Shauri (shauri) is the name of Vishnu-Krishna according to the grandfather of Krishna Shura, the father of Vasudeva and the mother of Pandava Kunti Shiva (shiva) - the destroyer god of the universe, the third member of the Hindu triad of the higher

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

gods (trimurti), the Shaivites are the supreme deity. DICTIONARY OF SUBJECTS AND TERMS Amrita (amR ^ ita) is a divine drink of immortality in Hindu mythology. Apsaras (apsarA) are celestial courtesans and dancers. Entertain the celestials and warriors who died the death of the brave on the battlefield in the paradise of Indra and also on the instructions of the gods seduce and distract from the asceticism of the hermits, whose power threatens to become excessive. Vidyadhara (vidyAdhara, literally "possessor of knowledge") is a class of semi-divine beings, the companions of Kubera, known for their beauty and abilities to change their appearance at will and fly through the air. Women Vidyadharas willingly enter into an affair with mortal men. Gandharvas (gandharva) are semi-divine beings, young dancers, singers and musicians in the paradise of Indra. Danava (dAnav) is one of the two main kinds of Asur, the descendants of Kashyapa and Danu, the daughter of Daksha. Dundubhi (dundubhi) is a large military drum. Yoni (yoni) - in the Hindu religion the symbol of the female energy principle, in the usual sense the female womb. Kalpa (kalpa) - Hindus have a huge period of time equal to one day of Brahma, and according to the account of people this is 4,320 million years. Consists of 14 manvantar. Kamashastra (kAmashAstra) - treatises on the art of love. Kankana (ka ~ NkaNa) is a bracelet worn between the shoulder and elbow, closer to the elbow. Kanchuka (ka ~ nchuka) - lightweight women's clothing covering the chest and shoulders. This word was also called simply a wide ribbon-bodice, which tightened the chest and tied on the back. Was part of the subjects closely associated with the erotic appeal of women. Kinnaras (kinnara, literally "what kind of person?") Is a class of semi-divine beings, portrayed as people with horseheads (centaurs on the contrary), sweet-sounding singers and musicians. Lingam (liMga) - in the Hindu religion the symbol of the divine generating power associated with Shiva, in the ordinary sense - the phallus. Manvantara (manvantara) - a period of time equal to the period of Manu's life in the Hindu chronology, according to the account of people it is 306720 thousand years. Nupuras (nUpura) - a kind of special ankle bracelets with bells, worn on the ankle. Pishachi (pishAcha) is the lowest of the three classes of demons (still asuras and rakshasas), disgusting demons, devourers of corpses, torturers of the sick who live in places of cremation. Rakshasas (rAkShas) are one of the three main classes of demons, (others are asuras and pishachi), enemies of religion, defilers of rites, cannibals wandering around the legs, wizards and werewolves. Samadhi (samAdhi, literally "concentration") is the concentration of attention, contemplation for the purpose of cognizing an object from within, without the mediation of the sense organs and conceptualizing thought. It is widely used in many systems of Indian philosophy, but especially

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

in Buddhism and in the yoga of Patanjali. In the state of samadhi there is no longer a center, an empirical "I", from which cognitive activity comes, nor is there an object separate from it. Siddhi (siddha) are semi-divine beings with special supernatural powers Tirtha (tIrtha, literally "ferry, ford") is a sacred place for Hindu pilgrimage, usually located on the banks of rivers, sometimes at the confluence of two rivers. Yakshi (yakSha) are deities of the lower order. They are the keepers of the kingdom of the god of wealth of Kubera. DICTIONARY OF TOPONS AND ETHNOMONS Abhira (AbhIra) is a cattle-breeding tribe occupying the territory of the south-eastern part of modern Gujarat. Andhra (AndhrI) is a historical region located in the south of India in the valley of the Tapti River and inhabited by the Dravidian Andhra people. Vraja (vraja) is a place near Mathura where Krishna spent his childhood and adolescence. Ganga (ga ~ NgA) is the most sacred river of Hinduism. Its origins are in the Himalayas, and it flows into the Bay of Bengal. Hindus make pilgrimages to it, especially to its sources and the cities of Haridwar, Varanasi and Allahabad (ancient Prayag) (the place of the confluence of Jamna). In its waters, after cremation, the ashes of the dead are scattered, and ritual ablutions are performed. For the first time (and only once) is mentioned in the Rigveda. Govardhana (govardhana) is a hill in the Vrndavana area, a place of triumph of Krishna above Indra, which symbolized the decline of the cult of the Vedic gods and the emergence of a new Krishna-Vishnu cult. When Indra attempted to flood Vrndavana together with people and livestock, Krsna raised the hill above its inhabitants and held it for seven days, as a result of which Indra was forced to retreat. The Gujarati (gurjara) are the people that make up the main population of the present state of Gujarat, located in the west of India. Kaveri (kAverI) is a river in South India, the sources are in the Western Ghat in the territory of the modern state of Karnataka. He owns the Bay of Bengal in the state of Tamil Nadu. It is called Dakshina-Ganga or "southern Ganges". It is first mentioned in the Mahabharata. Kalindi (kAlindI) is another name for the river Yamuna (modern Jamna), the right tributary of the Ganges, flowing into it from the city of Allahabad (Prayag). Karnata (karNATa) is a country located in the south-west of India in the territory of the modern state of Karnataka (until 1973 - Mysore). Kaushiki (kaushikI) - the river in Bihar, the tributary of the Ganges. Kashmiris (kAshmIra) are the people that make up the main population of the current state of Jammu and Kashmir, located in the north of India. The name "Kashmir" appears for the first time in the linguist Panini (presumably in the 5th century BC). Lata (lATa) is a country west of the Narmada River, flowing in central India and flowing into the Arabian Sea; Probably, it included Baroda and Ahmadabad. Malwa (mAlava) - or Malawi, the historical region of Central India. The name came from a tribe of Malawi who moved here from the banks of the Irrawati River as a result of Alexander the file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Great's campaign, whose troops exterminated a large part of the tribe, or , according to another version, from the Dravidian word malai "hill". The main city of Malwa was Ujjaini. Manasa (mAnasa) is a lake located near the sacred mountain of Kailas (the seat of Shiva and Parvati) in the Himalayas of Western Tibet. In Vayu-purana it is one of the four sacred lakes (southern) near Mount Meru, the axis of the world; these lakes were formed after the water of the four streams had left, on which, in accordance with the main sides of the world, the Ganges River split from the heavens to the ground. In Sanskrit texts it is usually mentioned that it is the homeland of geese migrating to its shores every year at the beginning of the rainy season. Mandakini (mandAkinI) is the sleeve of the Ganges, flowing through the Kedaranath valley in the Himalayas, in the northern part of Garhwal. Maharashtra (mahArAShTra, literally "great country") is a historical area, and nowadays it is the same state, located in the south-west of India. The ancient capitals of Maharashtra at different periods were Pratishthana (modern Paithan on the Godavari river), Kalyan and Watapi (or Badami). Saurashtra (saurAShTra) is another name for Anarta, an ancient country in the territory of Gujarat and the adjacent part of Malwa. The name Surastra (surAShTra) is mentioned in the inscriptions of the Satawahans, a dynasty that ruled the central regions of the Deccan for about 450 years (III century BC - III century AD ). Chedi is a country west of the Ganges valley (roughly modern Madhya Pradesh) It was inhabited by the Indo-Aryan Chedi, first mentioned in the Rig Veda. Chola (cola) is a historical region located in the southern part of the Coromandel Coast along the banks of the Kaveri River in the southeast of India. It was inhabited by a people of Dravidian origin. For the first time it is mentioned in the inscriptions of Ashoka. The main city was Uraipur (Uragapura). DICTIONARY OF FLORA AND FAUNA Amalaka (Amalaka) - Emblic Myrobalan tree or Phyllanthus emblica, resembles hemlock. Sour fruit of some varieties of this tree growing in the mountains was attributed to the miraculous power - to return youth, to grant longevity, etc. Atasi (atasI) - blue flax Linum Usitatissimus. Ashvattha (ashvattha) is a sacred fig tree. Ashoka (ashoka) - Jonesia asoka or Saraca indica, a small evergreen tree, abundantly blossoming with orange-purple flowers, forming inflorescences. The flowering period is January-February. Has a dense dark green foliage, which is used to decorate the ears. Ashoka is associated with the ancient rituals of fertility. According to the legend, it grows only where a young woman struck her foot. In mythology, the Buddha was born under the Ashok tree, and Ravana kept Sita imprisoned in the Ashok grove. Bandhuka (bandhUka) is the tree of Pentapetes Phoenicea or Terminalia Tomentosa. Bilva (bilva) is a plant of Aegle Marmelos, a species of wild apple tree, whose fruits are used

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

uncontoured in folk medicine, and leaves - in rituals of Shiva worship. Bimba (bimba) is a plant of Momorfica monadelpha, which brings bright red fruits, with which the lips of beauties are usually compared. Vibhitaka (vibhItaka) - the tree of Terminalia bellerica, is mentioned among plants that give whitening and tannins. Kadamba (kadamba) is the tree of Nauclea cadamba or Anthocephalus indicus, blooms in the rainy season and in the poetic canon is associated with erotic symbolism. Kinshuka (kiMshuka) is the tree of Butea frondosa. From January to March is covered with a mass of orange and bright red flowers, which are very fond of birds. In Sanskrit literature with flowers, kinshuki often compare the wounds of warriors they received in battle, and the marks of nails that a man leaves on his loved one's body. D. Ingalls calls kinshuku one of the most beautiful Indian trees. Kuvalaya (kuvalaya) is a blue water lily. Madanaka - Artemisia Indica, a kind of apple tree. Madhuka (madhUka) - Bassio latifolia, Mohwa or Indian oil tree. A large deciduous tree with a thick gray bark, growing in arid mountain areas, valuable for its tasty and nutritious flowers that blossom at night and fall at dawn. The petals of these flowers are collected and rubbed into a flour, from which baked tortillas. Of the flowers madhuki also receive a strong alcoholic beverage, and from the pods - oil. In addition, Madhuk was considered a tree of love, and many wedding ceremonies were associated with her . Malura (mAlUra) - a tree of bilva or kapitha. The latter is the jackfruit, Feronia elephantum, which is grown throughout India, a medium-sized deciduous tree with spines. It has numerous, small, dull red, pale pink with transition to a greenish-yellow flower. Naga (nAga) - Mesua ferres, a small tree. Parijata (pArijAta) is a mythical tree. It appeared during the churning of the ocean by gods and asuras. Indra took it and planted it in his heavenly garden. The trunk of the parijata is made of gold, and the bunches of various fruits hang from the branches. Pippala (pippala) - Ficus religiosa, ficus sacred or fig tree. Another name is ashvattha. Already in the Vedas appears as a symbol of the world tree. Saptaparna (saptapaeNa) - Alstonia or echites scholaris, seven-leaved tree. Chakora (chakora) bird Perdix rufa or Genus alectoris, Indian partridge, according to the popular belief in India, this bird is in love with the Moon and feeds only on the moon rays emanating amrita. Chakravaka (chakravAka) - gerbil; it is believed that the male and female chakravaks are very fond of each other, but are forced to part with the onset of darkness until morning and all night long plaintively calling each other, thus acting as a symbol of an inseparable couple. Champaka (champaka) - Michelia champaca, a kind of magnolia, growing in the eastern foothills of the Himalayas, Assam, Burma and South India. A tall and fast-growing evergreen tree with dark yellow or orange fragrant flowers. Çatak (chAtaka) - or the great spotted cuckoo, Cuculus malanoleucus or jacobinus, a bird associated with the rainy season, because, according to legend, it feeds raindrops expectation that it symbolizes the poetry of love longing. In Sanskrit poetry, the image of chataka is also used as a

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

symbol of pride, nobility and tragic fate. Haritaka (harItaka) - Terminalia chebula, the yellow worldbalance, whose fruits are supposedly inherent in the magical ability to bestow longevity and youth. Shaivala (shaivalaka) - Vallisneria octandra or bexia, an aquatic plant. Shapphari (shapharI) - a kind of small fish with sparkling scales. Shirisha (shirISha) - Acacia sirissa or Albizia leblek acacia tree , related to a rain forest. Flowers are like a fluffy bundle of villi, small hemispheres, color from almost white at the center to light green-yellow on the surface of these hemispheres. One of the Kama's arrows is a flower of a width.

SOURCES KAMA-SAMUKHI "Amaru Shataka" ("One Hundred Poems by Amaru") is a collection of poems about love, which tradition attributes to a legendary poet named Amaru. It is considered the most famous and honored collection of Sanskrit love lyrics. There are four reviews of the collection, the earliest of them dates back to the XIII century. It is believed that "Amaru Shataka" is not a collection of works by one poet, but an anthology of lyrics by different authors. At the suggestion of D. Ingolls, the core of this anthology compiled a cycle of poems that really belonged to a single poet named Amaru [Indian lyrics 1978: 142-149; Classical poetry 1977: 60-69; Ingalls 1965: 44-45]. "Veni-samhara" ("Braid braid") - a drama in 6 acts, belonging to the pen of Bhattanarayana (lived presumably in the VII or VIII century). Written on the Mahabharata plot, covering events from Krishna's talks with kauravas and up to the killing of Bhishma Duryodhana. "Kuttani-mata" (" The Guide to the Companion ") is the work of the Kashmiri poet Damodaragupta, who was the chief minister of the king of Jayapida (779-813). In her, an experienced pimp instructs a young hetman named Malati, how to seduce rich young people. Thus, the poem is a kind of guide for the hetaera. The work received a realistic reflection of the social life of Kashmir at that time, besides, the author shows a profound knowledge of Sanskrit and Kamachastr. "Rati Rahasya" ("The Mystery of Love Passion"), otherwise "Coca-sastra" is a treatise on the art of love compiled by Kokkoka in the 12th-13th centuries. It consists of ten parts; The order of the exposition in general corresponds to the "Kamasutra", but the work contains a description of the love receptions absent from Vatsyayana. In India it is no less famous than The Kamasutra. Of the comments on the text, the most famous is the commentary by Kanchinathi [Bhattacharyya 1975: 105-110; Mulchandani 2006: 122]. Kumara Sambhava (The Birth of Kumara) is a great epic poem (Mahakavya) of the greatest Indian poet and playwright Kalidasa, who presumably lived in the fifth century, in the Gupta era, which is also called the "golden age" of India. It is dedicated to the love story of the god Shiva and the goddess Parvati and is considered a masterpiece of classical Sanskrit poetry. In the main version, the poem consists of 8 chapters and ends only with the marriage of Shiva and Parvati. However, in some manuscripts "Kumara-sambhava" contains 17 chapters, and at the end of it, Kumara (or Skanda), the Hindu god of war, really comes into being. Therefore, there is reason to believe that the remaining chapters belong to an unknown poet [Kalidasa 1956; Classical poetry file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

1977: 25-53; Ehrmann 1976]. "Megha-duta" ("Cloud-Herald") is a small lyric poem by Kalidasa. It counts a little over 100 stanzas and is dedicated to chanting the beauty of Indian landscapes [Kalidasa 1956]. "Nagananda" is a play by King Harshi (VII century), which tells how the prince Jimutavahana gives his body to Garuda, to stop the sacrifice of snakes. "Nagara-sarvasva" ("City Encyclopedia") - a treatise on the art of love (kamashastra), composed between the X and XIV centuries. Padmasri, who was a Buddhist and an admirer of Manjusri and Tara. It consists of 36 chapters. The author follows in many respects Vatsyayane and Kokkoka, but touches on several topics absent in other kamashastra (for example, the manufacture of cosmetics and the influence of precious stones on the sexual behavior of man [Bhattacharyya 1975: 110-112]. "Panchatantra" ("Five treatises") - the most popular Indian collection of fables. Heroes often speak talking animals. It is considered to be a book in the thread (nIti), the science of morality. Through the translations had a huge impact on the world literature, including the European. Raghu-vamsha (Rod Raghu) is a great epic poem (Mahakavya) belonging to Kalidasa. It consists of 19 songs and is dedicated to the life of the kings of the Sun dynasty, including Raghu and Rama [Kalidasa 1996; Ehrmann 1976]. "Rasika-priya" - Kumbha's comment on the famous poem of Jayadeva "Gita-govinda" (XII century.), Dedicated to the love of Krishna and Radha. "Sahiti-darpana" ("Mirror of poetry") is a literary treatise of Visvanatha Kaviraja. "Smara-dipika" ("Candle of the God of Love") is an erotological treatise (kamashastra) of Minanatha. "Chaura-panchasika" ("Fifty verses about the thief") - poem of the Kashmiri poet Bilhana (XIXIIc.) Tells about the secret love of a robber and a princess. "Shishupala-vadha" ("Killing Sisupala") is a great epic poem (Mahakavya), belonging to the poet Magha. It dates from the second half of the 7th - the beginning of the 8th centuries. Written on a plot borrowed from the Mahabharata (II.33-45) and describes the story of the death of King Shishupala, who insulted Krishna and was killed by him after the sacrifice of Yudhisthira. It differs by intricacy and sophistication of the language. "Shringara-tilaka" (Kalidasy) - a short poem, whose author, praising his beloved, also complains of her hardness of heart. Attributed to Kalidas. The creation time is unknown. "Shringara-tilaka" (Rudraty) is a treatise on poetics attributed to Rudra, who, as a rule, is identified with Rudrat, the author "Kavyalankary". "Shringara-shataka" ("One hundred poems about love"), "Vairagya-shataka" ("One hundred poems about the renunciation of the world") - two collections of three, attributed to the poet Bhartrihari (identified tradition with the grammar and philosopher Bhartrichari). The third collection - "Threads-shataka" ("One hundred poems about secular wisdom") in "Kama-samuha" is not quoted. The dating of Bhartrichari poet's life varies from IV-X to VII. There are reasons to believe that all

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

three collections are an anthology that grew, perhaps, from a collection of poems by a poet. In India, they have enjoyed immense popularity and have come down to us in a variety of versions [Bhartrichari 1979; Indian lyrics 1978: 126-141; Classical poetry 1977: 67-77]. Known Anthologies of the Sanskrit Poetry "Subhashita-ratna-kosha" ("Treasury of Good Speeches ") - compiled in the XI century. Buddhist monk Vidyakara in Bengal. We have reached two versions, the first of which includes just over 1000 verses, and the second one contains 1728 verses distributed over 50 sections. The only anthology of Sanskrit poetry, fully translated into English (in the second version) [Ingalls 1965]. "Saducti-karnamrta" ("Nectar of good speech for the ears") compiled in 1205 by Sridharadasa in Bengal. "Subhashita-vali" - compiled in the XV century. Vallabhadeva in Kashmir. Contains 3527 poems attributed to 362 poets and distributed over 101 sections. There is a partial (600 verses) translation into English [Subhashitavali 2007]. "Subhashita-ratna-bhandahara" - compiled already in our time by Narayan Ram Acharya, was published in Mumbai in 1952. LITERATURE Sanskrit texts and their translations Kama Samuha 2008 - Kama Samuha of Sri Anant Kavi. Text with English Translation, Critical Introduction and Appendices by Amal Shib Pathak. ND: Chaukhambha Publications, 2008. Anandavarhana 1974 - Anandavarhana. Dhvanyaloka (The Light of Dhwani). Trans. with Skt. Yu.M. Alikhanova. Moscow: Nauka, 1974. Arthashastra 1993 - Arthashastra. Trans. with Skt. IN AND. Kalyanov. Moscow: Nauka, 1993. Atharva Veda 1995 - Atharva Veda. Favorites. Trans. in the Ved. T.Ya. Elizarenkovoy. 2 nd ed. M .: East. lit., 1995. Atharvaveda 2007 - Atharvaveda (Shaunaka): in 3 volumes, T. II. Trans. with Ved. T.Ya. Elizarenkovoy. M .: East. lit., 2007. Valmiki 1999 - Valmiki. Ramayana. M .: Gaudiya-Vedanta Press, 1999. Vatsyayana 1993 - Vatsyayana Mallanaga. Kama Sutra. Trans. with Skt., introductory article and comment. AND I. Syrkina. M .: East. lit., 1993. Bhagavad Gita 1994 - Bhagavad Gita. The book is about Bhishma. 3rd ed., Ext. Introduction, trans. with Skt. and comments. B.L. Smirnova. St. Petersburg, Acad, 1994. Bhartrihari 1979 - Bhartrihari. Shatakatraam. Trans. with Skt., research and commentary ID. Seryabryakova. Moscow: Nauka, 1979. Gitagovindam 1995 - Gitagovindam. Trans. with Skt. AND I. Syrkina. M .: East. lit., 1995.

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Dundin 1996 - Dundin. Mirror poetry ( "Kavyadarsha") (translation and commentary Grintser PA) // Eastern poetics: text. Research. Comments. M .: East. lit., 1996. P. 111-165. Dharma 1998 - Dharma Narada. Trans. with Skt. A.A. Vigasin and AM Samozvantsev. M .: East. lit., 1998. Laws of Manu 1992 - Laws of Manu. Trans. with Skt. S.D. Elmanovich. 2 nd ed. M .: Nauka, Ladomir, 1992. Indian lyrics 1978 - Indian lyrics of the II-X centuries. Trans. with prakrita and Sanskrit by Yu. Alikhanova and V. Vertogradova. Moscow: Nauka, 1978. Kalidasa 1996 - Kalidasa. The genus of Raghu (Raghuvansha). Trans. with Skt. V.G. Erman. SPb .: Petersburg Oriental Studies, 1996. Kaula 2004 - Kaula-tantra-sangraha. Anthology of Hindu Tantra texts. Trans. with Skt. S.S. Fedorova, S.V. Lobanov. M .: Starclayt, 2004. Mahabharata 1984 - Mahabharata. Issue V. Book 2. Narayaniya. Trans. with Skt. B.L. Smirnova. 2 nd ed. Ashgabat: Ylym, 1984. Mahabharata 1987 - Mahabharata. The third book. Forest [Aranyakaparva]. Trans. I'M IN. Vasilkova and S.L. The non-target. M .: Nauka, 1987. Mahabharata 1992 - Mahabharata. The first book. Adiparva. Trans. IN AND. Kalyanov. M .: Nauka, 1992. Mahabharata 1996 - Mahabharata. The book is the ninth. Shalyaparva, or the Book of Shalla. Trans. IN AND. Kalyanov. Moscow: Ladomir, 1996. Mahabharata 2005 - Mahabharata. Final books XV-XVIII. Trans. with Skt. I'M IN. Vasilkova and S.L. The non-target. M .: Science, 2005. Mahabharata 2009 - Mahabharata. The book is the sixth. Bhishmaparva, or the Book of Bhisma. Trans. with Skt. V.G. Erman. Moscow: Ladomir, 2009. Mukundoram 1980 - Mukundoram Chokroborti Kobikonkon. Song of Thanksgiving Chandi [Chondimongol]. Trans. with beng. IA Tovstykh. M .: Nauka, 1980. Rajashehara 1996 - Rajashehara. Reasoning about poetry ("Kavyamimansa") (translation and commentary by SD Serebryany) / / Eastern poetics: Texts. Research. Comments. M .: East. lit., 1996. pp . 166-217. Ramayana 2006 - The Ramayana. The first book of Balakand (Book of Childhood). Book Two Ayodhyakanda (Book of Ayodhya). Trans. with Skt. P.A. Grinzer. Moscow: Ladomir; Science, 2006. Rigveda 1989 - Rigveda: Mandalas I - I V. Trans. T.Ya. Elizarenkovoy. M .: Nauka, 1989. Rigveda 1995 - Rigveda: Mandalas V-VIII. Trans. T.Ya. Elizarenkovoy. Moscow: Nauka, 1995. Rigveda 1999 - Rigveda: Mandalas IX-X. Trans. T.Ya. Elizarenkovoy. M .: Science, 1999. Tyulina 2003 - Tyulina E. V. Garuda Purana. Man and the world. M .: East. lit., 2003. Upanishads 2000 - Upanishads. Trans. with Skt. AND I. Syrkina. 2 nd ed., Ext. M .: East. lit., 2000. Srimad-Bhagavatam 2010 - Srimad-Bhagavatam. The tenth song is part two. M .: Bhaktivedanta Buk Trust, 2010. Ingalls 1965 - Ingalls DHH Anthology of Sanskrit Court Poetry. Vidyakara's "Subhasitaratnakosa". Cambridge, Massachusetts: Harvard University Press, 1965. file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Ingalls 2000 - Ingalls DHH Sanskrit Poetry from Vidyakara's "Treasure". Cambridge, Massachusetts: The Belknap press of Harvard University Press, 2000. Narayan 2016 - Narayan Ram Acharya. Subhashita Ratna Bhandagara. Moscow: Book Renaissance, 2016. Ratiratnapradipaka 2005 - Ratiratnapradipaka. Text with Transliteration and English Translation by KP Iyengar. Delhi: Chaukhamba Sanskrit Pratishthan, 2005. Subhashitavali 2007 - Subhashitavali. An antology of comic, erotic and other verse. Selected and translated from the sanskrit by AND Haskar. Navi Mumbai: Penguin Books, 2007. Research Biruni 1995 - Biruni. India. Trans. from. Arab. A. Khalidov and Yu. Zavadovsky. Moscow: Ladomir, 1995. Basham 1977 - Basham AL Miracle, which was India. Moscow: Nauka, 1977. Vanina 2007 - Vanina E.Yu. Medieval thinking: the Indian version. M .: East. lit., 2007. Grinzer 1987 - Grinzer P.A. The main categories of classical Indian poetics. M .: Nauka, 1987. Grinzer 2008 - Grinzer P.A. Selected works. T. 1. Old Indian literature. Moscow: Russian State University for the Humanities, 2008. Efimenko 1996 - Efimenko V.A. // Indian wife: research, essay. M .: East. lit., 1996. P. 48-67. Indian philosophy 2009 - Indian philosophy: encyclopedia. M .: East. lit., 2009. Hinduism 1996 - Hinduism. Jainism. Sikhism. Dictionary. - M .: Republic, 1996. Kingsley 2008 - Kinsley D. Mahavidya in the Indian Tantra. St. Petersburg: Academy of Cultural Studies, 2008. Classical poetry 1977 - Classical poetry of India, China, Korea, Vietnam, Japan. M .: Fiction, 1977. Kotin 2005 - Kotin I. Yu., Uspenskaya Ye. N. Calendar customs and rites of Hindustans // Indian holidays: general and local in calendar rituals. SPb .: Petersburg Oriental Studies, 2005. pp. 10-75. Kochergina 1996 - Kochergina VA Sanskrit-Russian dictionary. 3rd ed., Rev. and additional. M .: Philology, 1996. Lidova 2010 - Lidova N.R. Race in the system of aesthetic categories of Natyashastra // Poetological monuments of the East: image, style, genre. Otv. Ed. N.R. Lidova. M. Vost. lit., 2010. P. 48-152. Myths 1991 - Myths of the peoples of the world. Encyclopedia in two volumes. T. 1. M .: Sov. Encyclopedia, 1991. Myths 1992 - Myths of the peoples of the world. Encyclopedia in 2 volumes. Sov. Encyclopedia, 1992. Morozov 1998 - Morozov D.V. Twice-born. M .: Elf, 1998. Neveleva 1996 - Neveleva S.L. Heroic wives in the ancient Indian epic

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

T. 2.

M .:

// Indian wife: research, essay. - M .: East. lit., 1996. S. 5-28. Pandey 1990 - Pandey R.B. Old Indian home ceremonies. - Moscow: Higher School, 1990. Rusanov 2002 - Rusanov MA Poetics of medieval Mahakavi. Moscow: Russian State University for the Humanities, 2002. Subramuniyaswami 1997 - Sadguru Shivaya Subramuniyaswami. Dance with Shiva. Trans. with English. Kiev: Sofia, 1997. Syrkin 1996 - Syrkin A.Ya. Unity "sacred" and "secular" in a love relationship and the image of the wife / / Indian wife: research, essay. M .: East. lit., 1996. S. 5-28. Temkin 1982 - Temkin EN, Erman VG Myths of Ancient India. Moscow: Nauka, 1982. Ultsiferov 2003 - Ultsiferov OG India. Lingvostranovedchesky dictionary. M .: Rus. Yaz. Media, 2003. Shudhirchondro 2013 - Shudhirchondro Shorkar. Faces of the Gods: Dictionary-reference book of Indian mythology. Trans. with Bengal EK Brosalina. St. Petersburg: Publishing House of St. Petersburg State University, 2013. Erman 1976 - Erman VG Kalidasa. Moscow: Nauka, 1976. Apte 1988 - Apte V. Sh . The Student s Sanskrit-English dictionary. Delhi: Motilal Banarsidas, 1988. Bhattacharyya 1975 - Bhattacharyya NN History of Indian Erotic Literature. ND: Munshiram Manoharlal Publishers, 1975. Bhattacharyya 1996 - Bhattacharyya NN History of the Shakta Religion. ND: Munshiram Manoharial Publishers Pvt Ltd, 1996. Bhattacharyya 1999 - Bhattacharyya NN The Geographical Dictionary. Ancient and Early Medieval India. ND: Munshiram Manoharlal Publishers, 1999. Bhattacharyya 1999 - Bhattacharyya NN The Indian Mother Goddess. 3 ed. ND: Manohar, 1999. Bhattacharyya 2005 - Bhattacharyya NN History of the tantric religion. An historical, ritualistic and philosophical study. ND: Manohar, 2005. Coburn 1991 - Coburn TB Encountering the Goddess: A translation of the Devi-Mahatmya and a Study of Its Interpretation. NY: State University of New York Press, 1991. Doniger 2016 - Doniger W. Redeeming the Kamasutra. NY: Oxford University Press, 2016. Eck 2012 - Eck DL India: a sacred geography. NY: Three Rivers Press, 2012. Gautam 2016 - Gautam SK Foucault and the Kamasutra. The Courtesan, the Dandy, and the Birth of Ars Erotica as Theater in India. Chicago and London: The University of Chicago Press, 2016. Monier-Williams 2015 - Monier-Williams M. A Sanskrit-english dictionary. Etymologically and philologically arranged with special reference to cognate indo-european languages. Delhi: Nataraj Books, 2015. Mulchandani 2006 - Mulchandani S. Erotic literature of ancient India. ND: Lusterre Press, Roli Books, 2006. Pintchman 1994 - Pintchman T. The rise of the Goddess in the Hindu tradition. - Albany: State University of New York Press, 1994. file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]

Sacred Sexuality 2013 - Sacred Sexuality: The Ananga Ranga or The Ancient Erotic Art of Indian Love and sex. Bibliotech Press, 2013. Shastri 2010 - Shastri AM India as seen in the Kuttani-mata of Damodaragupta. Delhi: Motilal Banarsidass, 2010. ABOUT THE AUTHOR OF TRANSLATION Andrei Ignatiev was born in 1977 city of in the city of Balashov , Saratov region. In 1979 , the whole family moved to the city of Rechitsa of the Gomel region of Belarus. Since 1989 city of Kaliningrad. In 1994 he graduated from Isakovsky High School. I entered the Faculty of History at the Kaliningrad State University and graduated in 1999 . Since 1995 he studied Sanskrit, first under the guidance of prof. AN Khovansky, and then independently. Currently he is actively engaged in translations from Sanskrit, as well as from English, French, German and Spanish. Member of the Association of Researchers of Esotericism and Mysticism (AIEM). In 2003, 2004 and 2006-2015 took part in the Zograf readings (St. Petersburg). Dear readers! You can share your impressions about the book with the author by writing a letter to the address: [email protected]. Website on the Internet: www.mahadevi.ru , www.sanskrit.su Page in VKontakte: http://vkontakte.ru/id26842290 Facebook page: http://www.facebook.com/andrei.ignatiev.3

file:///C/Users/mittal/Downloads/355565359-kama-samuha-pdf.htm[8/24/2018 11:52:15 PM]