Kama Sutra - The Ancient Indian Handbook of Love Making.pdf - Dokumenty - xsxex

CONTENT

Preface

l Introduction

MODERN KAMA SUTRA INTERPRETATION

Over 40 sexual positions with images and detailed explanations

PART I: INTRODUCTORY

l Preface

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

l On the study of the Sixty-four Arts

On the Arrangements of a House, and Household Furniture; and about the

Daily Life of a Citizen, his Companions, Amusements, etc.

About classes of Women fit and unfit for Congress with the Citizen, and of

Friends, and Messengers

PART II: ON SEXUAL UNION

Kinds of Union according to Dimensions, Force of Desire, and Time; and on

the different kinds of Love

Of the Embrace

On Kissing

On Pressing or Marking with the Nails

On Biting, and the ways of Love to be employed with regard to Women of

different countries

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

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

About females acting the part of Males

On holding the Lingam in the Mouth

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

Love Quarrels

PART III: ABOUT THE ACQUISITION OF A WIFE

Observations on Betrothal and Marriage

About creating Confidence in the Girl

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

On things to be done only by the Man, and the acquisition of the Girl thereby.

Also what is to be done by a Girl to gain over a Man and subject him to her

On the different Forms of Marriage

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TRANSLATOR'S NOTES

TRANSLATOR' S NOTES

Preface

I n the literature of all countries there will be found a certain number of works

treating especially of love. Everywhere the subject is dealt with differently, and

from various points of view. In the present publication it is proposed to give a

complete translation of what is considered the standard work on love in Sanscrit

literature, and which is called the `Vatsyayana Kama Sutra', or Aphorisms on

Love, by Vatsyayana. While the introduction will deal with the evidence

concerning the date of the writing, and the commentaries written upon it, the

chapters following the introduction will give a translation of the work itself. It is,

however, advisable to furnish here a brief analysis of works of the same nature,

prepared by authors who lived and wrote years after Vatsyayana had passed

away, but who still considered him as the great authority, and always quoted

him as the chief guide to Hindoo erotic literature.

Besides the treatise of Vatsyayana the following works on the same subject are

procurable in India:

The Ratirahasya, or secrets of love

The Panchasakya, or the five arrows

The Smara Pradipa, or the light of love

The Ratimanjari, or the garland of love

The Rasmanjari, or the sprout of love

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

in the ocean of love.

The author of the `Secrets of Love' was a poet named Kukkoka. He composed

his work to please one Venudutta, who was perhaps a king. When writing his

own name at the end of each chapter he calls himself `Siddha patiya pandita',

i.e. an ingenious man among learned men. The work was translated into Hindi

years ago, and in this the author's name was written as Koka. And as the same

name crept into all the translations into other languages in India, the book

became generally known, and the subject was popularly called Koka Shastra, or

doctrines of Koka, which is identical with the Kama Shastra, or doctrines of

love, and the words Koka Shastra and Kama Shastra are used indiscriminately.

The work contains nearly eight hundred verses, and is divided into ten

chapters, which are called Pachivedas. Some of the things treated of in this

work are not to be found in the Vatsyayana, such as the four classes of women,

the Padmini, Chitrini, Shankini and Hastini, as also the enumeration of the days

and hours on which the women of the different classes become subject to love,

The author adds that he wrote these things from the opinions of Gonikaputra

and Nandikeshwara, both of whom are mentioned by Vatsyayana, but their

works are not now extant. It is difficult to give any approximate idea as to the

year in which the work was composed. It is only to be presumed that it was

written after that of Vatsyayana, and previous to the other works on this

subject that are still extant. Vatsyayana gives the names of ten authors on the

subject, all of whose works he had consulted, but none of which are extant, and

does not mention this one. This would tend to show that Kukkoka wrote after

Vatsya, otherwise Vatsya would assuredly have mentioned him as an author in

this branch of literature along with the others.

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TRANSLATOR' S NOTES

Introduction

I t may be interesting to some persons to learn how it came about that

Vatsyayana was first brought to light and translated into the English language.

It happened thus. While translating with the pundits the `Anunga Runga, or the

stage of love', reference was frequently found to be made to one Vatsya. The

sage Vatsya was of this opinion, or of that opinion. The sage Vatsya said this,

and so on. Naturally questions were asked who the sage was, and the pundits

replied that Vatsya was the author of the standard work on love in Sanscrit

literature, that no Sanscrit library was complete without his work, and that it

was most difficult now to obtain in its entire state. The copy of the manuscript

obtained in Bombay was defective, and so the pundits wrote to Benares,

Calcutta and Jeypoor for copies of the manuscript from Sanscrit libraries in

those places. Copies having been obtained, they were then compared with each

other, and with the aid of a Commentary called `Jayamangla' a revised copy of

the entire manuscript was prepared, and from this copy the English translation

was made. The following is the certificate of the chief pundit:

`The accompanying manuscript is corrected by me after comparing four

different copies of the work. I had the assistance of a Commentary called

"Jayamangla" for correcting the portion in the first five parts, but found great

difficulty in correcting the remaining portion, because, with the exception of one

copy thereof which was tolerably correct, all the other copies I had were far too

incorrect. However, I took that portion as correct in which the majority of the

copies agreed with each other.'

The `Aphorisms on Love' by Vatsyayana contain about one thousand two

hundred and fifty slokas or verses, and are divided into parts, parts into

chapters, and chapters into paragraphs. The whole consists of seven parts,

thirty-six chapters, and sixty-four paragraphs. Hardly anything is known about

the author. His real name is supposed to be Mallinaga or Mrillana, Vatsyayana

being his family name. At the close of the work this is what he writes about

himself:

`After reading and considering the works of Babhravya and other ancient

authors, and thinking over the meaning of the rules given by them, this treatise

was composed, according to the precepts of the Holy Writ, for the benefit of the

world, by Vatsyayana, while leading the life of a religious student at Benares,

and wholly engaged in the contemplation of the Deity. This work is not to be

used merely as an instrument for satisfying our desires. A person acquainted

with the true principles of this science, who preserves his Dharma (virtue or

religious merit), his Artha (worldly wealth) and his Kama (pleasure or sensual

gratification), and who has regard to the customs of the people, is sure to

obtain the mastery over his senses. In short, an intelligent and knowing person

attending to Dharma and Artha and also to Kama, without becoming the slave

of his passions, will obtain success in everything that he may do.'

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PART I

CHAPTER I

Preface

Salutation to Dharma, Artha and Kama

I n the beginning, the Lord of Beings created men and women, and in the form

of commandments in one hundred thousand chapters laid down rules for

regulating their existence with regard to Dharma, (1) Artha, (2) and Kama. (3)

Some of these commandments, namely those which treated of Dharma, were

separately written by Swayambhu Manu; those that related to Artha were

compiled by Brihaspati; and those that referred to Kama were expounded by

Nandi, the follower of Mahadeva, in one thousand chapters.

Now these `Kama Sutra' (Aphorisms on Love), written by Nandi in one

thousand chapters, were reproduced by Shvetaketu, the son of Uddvalaka, in

an abbreviated form in five hundred chapters, and this work was again similarly

reproduced in an abridged form, in one hundred and fifty chapters, by

Babhravya, an inheritant of the Punchala (South of Delhi) country. These one

hundred and fifty chapters were then put together under seven heads or parts

named severally

Sadharana (general topics)

Samprayogika (embraces, etc.)

Kanya Samprayuktaka (union of males and females)

Bharyadhikarika (on one's own wife)

Paradika (on the wives of other people)

Vaisika (on courtesans)

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

The sixth part of this last work was separately expounded by Dattaka at the

request of the public women of Pataliputra (Patna), and in the same way

Charayana explained the first part of it. The remaining parts, viz. the second,

third, fourth, fifth, and seventh, were each separately expounded by

Suvarnanabha (second part)

Ghotakamukha (third part)

Gonardiya (fourth part)

Gonikaputra (fifth part)

Kuchumara (seventh part), respectively.

Thus the work being written in parts by different authors was almost

unobtainable and, as the parts which were expounded by Dattaka and the

others treated only of the particular branches of the subject to which each part

related, and moreover as the original work of Babhravya was difficult to be

mastered on account of its length, Vatsyayana, therefore, composed his work in

a small volume as an abstract of the whole of the works of the above named

authors.

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