The Kama Sutra of Vatsyayana, might be called a treatise on men and women, their mutual relationship, and connection with each other. It is a work that should be studied by all, both old and young, teens and matures. It can also be fairly commended to the student of social science and of humanity. This work is not intended to be used merely as an instrument for satisfying human desires but it is ancient manual of deep and spiritual erotical life educare. A good person, acquainted with the true principles of this science, and who preserves his Dharma, Artha, and Kama, and has regard for the practices of the people, is sure to obtain the mastery over his senses. Kamasutra is a part of traditional 64-fold Tantra culture.
KAMA-SUTRA
MANUAL of YOUR SEXUAL LIFE
The word Kamasutra is from Sanskirit language and there is no synonym of it in the English language. And one thing more Sanskrit and Hindi are two different languages. Kamasutra (Hinduism) an ancient Sanskrit text giving rules for sensuous and sensual pleasure and love and marriage in accordance with Hindu law. Kamasutra is the ancient Bible of proper spiritually sexual life. Kamasutra (Sanskrit: कामसूत्र), (also Kama Sutra), is an ancient Indian art/text widely considered to be the standard work on love in Sanskrit literature. It is said to be authored by Mallanaga Vatsyayana. A portion of the work deals with human sexual behavior. The Kama Sutra is most notable of a group of texts known generically as Kama Shastra (Sanskrit: Kāma Śāstra). Traditionally, the first transmission of Kama Shastra or "Discipline of Kama" is attributed to Nandi the sacred bull, Shiva's door keeper, who was moved to sacred utterance by overhearing the lovemaking of the god and his wife Parvati and later recorded his utterances for the benefit of mankind. Historian John Keay says that the Kama Sutra is a compendium that was collected into its present form in the second century CE.
Kama (काम kāma, kAma) is a Sanskrit word that has the general meanings of "wish", "desire", and "intention" in addition to the specific meanings of "pleasure" and "(sexual) love". Used as a proper name it refers to Kamadeva, the Hindu univerasal God of Love or Archangel of Love. The Kama Sutra (Sanskrit: कामसूत्र kAmasUtra/M), (alternative spellings: Kamasutram or simply Kamasutra), is an ancient Indian text widely considered to be the standard work on love in Sanskrit literature. It is said to be authored by Mallanaga Vatsyayana. A portion of the work deals with human sexual behavior. The Kama Sutra is mostly notable of a group of texts known generically as Kama Shastra (Sanskrit: Kāma Śhāstra). Traditionally, the first transmission of Kama Shastra or "Discipline of Kama" is attributed to Nandi the sacred bull, Shiva's doorkeeper, who was moved to sacred utterance by overhearing the lovemaking of the god and his wife Parvati and later recorded his utterances for the benefit of mankind. Historian John Keay says that the Kama Sutra is a compendium that was collected into its present form in the second century CE; however, given that Mallanaga Vatsyayana wrote sometime in the Gupta period (between 4th and 6th centuries), this speculation of Keay's is doubtful.
The text emphasizes what was known as the purusharthas, or the four main goals of life. The first is dharma, or the act of living with virtue. The second, Artha, deals with material prosperity. Kama relates to erotic and aesthetic pleasures. Moksha is liberation through being released from the cycle of life and death. The first three goals can be achieved in every day life and are ordered according to importance (yes, sex is the least important). The Kama Sutra is not by definition a tantric text as it does not discuss the sacred rites that are meant to accompany those acts. But many who follow tantra do use the book as a guideline or starting point from which they can build their tantric rituals. The sexuality that is included in this book is meant to correspond to that notion of Kama. Though it does have a religious nature, the Kama Sutra has been translated into virtually every language on earth and is the most known Evangelion of the world. The Kama Sutra is extremely popular, more than Biblie and sought after by lovers who want to add more excitement to their love lives.
The Kama Sutra found copies dates back to about 200-400 CE, about 1,600 or 1800 years or more. It is a manual for developing the erotic sensibilities, knowledge and skill, including specific instruction on sexual techniques, as well as many other sensual and cultural expressions, referred to as the 64 arts. The approach to sex in the Kama Sutra is from a secular (non-religious, non-spiritual) perspective, whereas Tantra is definitely spiritual. The Kama Sutra does not in any way deny the value of spiritual practice, it is just not presenting that perspective. Tantra is all about awakening to full enlightenment, while the Kama Sutra is about great, satisfying, fulfilling sex, primarily between heterosexual couples. In the Kama Sutra sex was considered an essential aspect of everyone’s education. Sexual knowledge and skill were considered to be evidence of achievement, refinement, intelligence, psychological maturity, and part of the good life—the book was actually directed toward the upper class, educated, economically affluent portion of the population.
Mallanaga Vatsyayana was a very holy man (sadhu), a seer, and a sage (rishi), and in all of the spiritual senses of the word, a tantric. Mallanaga worshipped the Divine as both feminine and masculine (Shaktishiva), and lived primarily a religious life. Mallanaga wrote the Kama Sutra for the ruling class (nobled rulers, lords, princes and kings), which at that time in India's history was the Kshatriya, or Warrior caste. Based on mentions of 1st Century historical figures in the Kama Sutra, and on mentions of the Kama Sutra in early 5th Century works, we know that Mallanaga Vatsyayana wrote the Sutra sometime between the 1st and 4th Centuries A.D. The Kama Sutra is simultaneously a manual of matchmaking, flirting, sensuality in life and in sex, romantic love, human nature, attracting a man, turning on a woman, how to seduce a man, how to captivate a woman, how to get a man or woman to marry you, arranged marriages, affairs, gold-digging, the economics of love, affairs with courtesans, keeping the affections of a lover or spouse, love potions, charms, and everything in between. Mallanaga Vatsyayana not include deeper tantric sexual practices in his most famous work, because he knew that sexuality is only an appropriate spiritual tool for some good students of tantra marga. Mallanaga wrote the Kama Sutra for the ruling class and their educare so they could balance and enjoy their sensual appetites with their social and spiritual obligations as rulers. And He as a seer not to pass on secrets he knew would be lost on many of these students.
KAMASHASTRA (kAmashastra, kAmazastra)
In Indian literature, Kamashastra refers to the tradition of works on Kama. It therefore has a practical orientation, similar to that of Arthashastra, the tradition of texts on politics, government etc. Just as the former instructs kings and ministers about government, Kamashastra aims at instructing the townsman (nāgarika) the way to attain enjoyment and fulfillment. The earliest text of the Kama Shastra tradition, said to have contained a vast amount of information, is attributed to Nandi the sacred bull, Shiva's doorkeeper, who was moved to sacred utterance by overhearing the lovemaking of the god Shiva and his wife Parvati. During the 8th century BC, Shvetaketu, son of Uddalaka, produced a summary of Nandi's work, but this "summary" was still too vast to be accessible. A scholar called Babhravya, together with a group of his disciples, produced a summary of Shvetaketu's summary which remained a huge and encyclopaedic tome. Between the 3rd and 1st centuries BC, several authors reproduced different parts of the Babhravya group's work in various specialist treatises. Among the authors, those whose names are known are Charayana, Ghotakamukha, Gonardiya, Gonikaputra, Suvarnanabha, and Dattaka.
However, the oldest available text on this subject is the Kama Sutra ascribed to Vatsyayana who is often erroneously called as "Mallanaga Vatsyayana". Yashodhara, in his commentary of Kama Sutra, attributes the origin of erotic science to Mallanaga, the "prophet of the Asuras", meaning it originated in prehistoric times. The attribution of the name "Mallanaga" to Vatsyayana is due to the confusion of his role as editor of the Kama Sutra with that of the mythical creator of erotic science. Vatsyayana's birth date is not accurately known but he must have lived earlier than the 7th century since he is referred to by Subandhu in his poem Vāsavadattā. On the other hand Vātsyāyana must have been familiar with the Arthashastra of Kautilya. On the other hand Vātsyāyana refers to and quotes a number of texts on this subject, which unfortunately have been lost. Following Vātsyāyana, a number of authors wrote on Kāmashastra, some writing independent manuals of erotics, while others commenting on Vātsyāyana. Of later works well known are Kokkaka's Ratirahasya (13th century) and Anangaranga of Kalyanamalla (16th century). Of commentators on Vatsyayana the most well known is Jayamangala (13th century).
EROS AND EROTICISM
In Greek mythology, Eros (Greek: Ἔρως) was the primordial god of lust, love, and intercourse; he was also worshipped as a fertility deity. His Roman counterpart was Cupid. In some myths, he was the son of the deities Aphrodite and Ares, but according to Plato's Symposium he was conceived by Poros (Plenty) and Penia (Poverty) at Aphrodite's birthday. This explains the different aspects of love. His Roman equivalent was Cupid, "desire", also known as Amor, "love". According to tradition which was made by Eratosthenes, Eros was principally male the patron of love bettween men and women, while Aphrodite ruled as the feminine patron of love between men and women. Throughout Greek thought, there appear to be two sides to the conception of Eros; in the first, he is a primeval deity who embodies not only the force of erotic love but also the creative urge of ever-flowing nature, the firstborn Light for the coming into being and ordering of all things in the cosmos. In Hesiod's Theogony, the most famous Greek creation myth, Eros sprang forth from the primordial Chaos together with Gaia, the Earth, and Tartarus, the underworld; according to Aristophanes' play The Birds, he burgeons forth from an egg laid by Night conceived with Darkness. In the Eleusinian Mysteries, he was worshiped as Protogonus', the first-born. There are similar ideas to the Kama concept in India.
Eros (ἔρως érōs) is passionate love, with sensual desire and longing. The Modern Greek word "erotas" means "(romantic) love". The term erotic is derived from eros. Eroticism is an aesthetic focus on sexual desire, especially the feelings of anticipation of sexual activity. It is not only the state of arousal and anticipation, but also the attempt through whatever means of representation to incite those feelings. The word "eroticism" is derived from the name of the Greek god of love, Eros, in sanskrit culture Kama (kAmadeva). It is conceived as sensual love or the human sex drive (libido). Philosophers and theologians discern three kinds of love: eros, philia, and agape. Of the three, eros is considered the most egocentric, focusing on care for the self. Ancient Greek philosophy’s overturning of mythology defines in many ways our understanding of the heightened aesthetics sense in eroticism and the question of sexuality. Eros was after all the primordial god of unhinged sexual desire in addition to heteroeroticism, which is the yearning of sexual desire from the opposite sex. In the Platonic ordered system of ideal forms, Eros corresponds to the subject's yearning for ideal beauty and finality. It is the harmonious unification not only between bodies, but between knowledge and pleasure. Eros takes an almost transcendent manifestation when the subject seeks to go beyond itself and form a communion with the objectival other. The French philosopher Georges Bataille believed eroticism was a movement towards the limits of our own subjectivity and humanity, a transgression that dissolves the rational world but is always transitory.
In Freudian psychology, Eros, also referred to in terms of libido, libidinal energy or love, is the life instinct innate in all humans. It is the desire to create life and favours productivity and construction. Eros battles against the destructive death instinct of Thanatos (death instinct or death drive). Love Magic is the attempt to bind the passions of another, or to capture them as a sex object through magical means rather than through direct activity. It can be implemented in a variety of ways such as written spells, dolls, charms, or different rituals. Yet an objection to eros and erotic representation is that it fosters a subject/object relationship in which the object of desire is mere projection of the needs of desiring subject. Love as eros is considered more base than philia (friendship) or agape (self-sacrificing love). But erotic engagement paradoxically individuates and de-individuates the desirer. Some believe defining eroticism may be difficult since perceptions of what is erotic fluctuate. For example, a voluptuous nude painting by Peter Paul Rubens could have been considered erotic or pornographic when it was created for a private patron in the 17th century. Similarly in the United Kingdom and United States, D. H. Lawrence's sexually explicit novel Lady Chatterley's Lover was considered obscene and unfit for publication and circulation in many nations thirty years after it was completed in 1928, but may now be part of standard literary school texts in some areas. In a different context, a sculpture of a phallus in Africa may be considered a traditional symbol of potency though not overtly erotic.
In Roman mythology, Cupid (Latin cupido) is the god of erotic love and beauty. He is equated with the Greek god Eros, and another one of his Latin names is Amor (cognate with Kama). In popular culture Cupid is frequently shown shooting his bow to inspire romantic love, often as an icon of Valentine's Day. Given that Cupid is a personification of love, and in particular sexual love, the ancients faced a difficult dilemma when they had to account for his parentage. If sexual love did not exist yet, by what process could they give birth to the god of love? Accordingly, there are many different stories about Cupid's parentage. Cicero provides three different lineages: son of Mercury (Hermes) and Diana (Artemis), son of Mercury and Venus (Aphrodite), and son of Mars (Ares in Greek mythology) and Venus. It seems that Cupid did not gain parents until later Greek antiquity. According to Hesiod's Theogony, the most ancient Greek theoography, Eros - the Greek equivalent of Cupid - was created coevally with Chaos and the earth. Throughout ancient mythological writing, there appear to be either two Cupids or two sides to the figure of Cupid. One is the son of Jupiter (Zeus) and Venus. He is a lively youth who delights in pranks and spreading love. The other is a son of Nyx and Erebus, known for riotous debauchery. Cupid's cult was closely associated with that of Venus, with Cupid being worshipped as devotedly as she. Additionally, Cupid's power was supposed to be even greater than his mother's, since he had dominion over the dead in Hades, the creatures of the sea and the gods in Olympus. Some of the cults of Cupid suggested that Cupid as son of Night and Hell mated with Chaos to produce both men and gods, making the gods the offspring of love. Cupid is a holiday character and symbol usually representing Valentines Day and the emotion of love. Cupid is the Roman version of the Greek deity Eros and the Hindu deity Kama. The most common representations of Cupid include a baby with wings and a bow and arrow.
YONI -The Great Womb
Yoni - literally, the "source;" also "womb". In Tantra Yoga, yoni refers more to the vagina. The word yoni (Sanskrit यिोन yoni) is the Sanskrit word for "divine passage", "place of birth", "womb" - more as nature as a womb and cradle of all creations or "sacred temple" (cf. lila). Yoni (YO-NEE) is the Sanskrit word for the vagina. In Tantra, the vagina is a sacred part of the female body, which must be treated with care and respect. The Yoni massage is a sensuous form of intimacy that builds trust between partners and brings them closer together emotionally and spiritually. The word also has a wider meaning in both profane and spiritual contexts, covering a range of meanings of "place of birth, source, origin, spring, fountain, place of rest, repository, receptacle, seat, abode, home, lair, nest, stable" (Monier-Williams). The yoni is also considered to be symbolic of Shakti or other goddesses of a similar nature. In classical texts such as Kama Sutra, yoni refers to vagina. Even more interesting linguistic example is the Sinhalese language, which developed from old colloquial Sanskrit of North India. Possible Lingam-Yonis have been recovered from the archeological sites at Harappa and Mohenjo-daro, part of the Indus Valley Civilization. Joseph Campbell associates Yoni with "Kali, "the dark one" or "death and time ruler one" who is the "blood-consuming consort" of Shiva the Lord God.
Yoni is the Sanskrit word for the vagina that is loosely translated as "sacred space" or "Sacred Temple". In Tantra, the Yoni is seen from a perspective of love and respect. This is particularly important for men to learn. Before beginning the Yoni Massage it is important to create a space for the woman (the receiver) in which to relax, from which she can more easily enter a state of high arousal and experience great pleasure from her Yoni. Her partner (the giver) will experience the joy of giving pleasure and witnessing a special moment. The Yoni Massage can also be used as a form of "safe sex" and is an excellent activity to build trust and intimacy. Some massage and sex therapists use it to assist women to break through sexual blocks or trauma. The goal of the Yoni massage is not solely to achieve orgasm, although orgasm is often a pleasant and welcome side effect. The goal can be as simple as to pleasure and massage the Yoni. From this perspective both receiver and giver can relax, and do not have to worry about achieving any particular goal. When orgasm does occur it is usually more expanded, more intense and more satisfying. It is also helpful for the giver to not expect anything in return, but simply allow the receiver to enjoy the massage and to relax into herself.
Dharma - Artha - Kama - Moksha
The literature of ancient India deals with a great number of scientific questions. According to ancient Hindu-wisdom, the life of a human serves has been described in various ways such as the theme of Astronomy, Geometry, Phonetics, Metrics, Grammar, Medicine, Politics etc and the total goal is the :
* Dharma - the complete collection of virtuous, religious works as a basis for Families, Civilrights, Codex of Behaviour, Dharmashastra, written by Manu.
* Artha - material possessions, earthly well-being, Arthashastra, written by Kautilya.
* Kama - love and all its associated pleasures of the senses, Kamasutra, written by Vatsyayana.
* Moksha - Spiritual Liberation, Enlightment, Salvation.
Dharma is obedience to the command of the Shastra or Holy Writ of the Hindus to do certain things, such as the performance of sacrifices, which are not generally done, because they do not belong to this world, and produce no visible effect and not to do other things such as eating meat, which is often done because it belongs to this world, and has visible effects. Dharma should be learnt from the Shruti (Holy Writ) and from those conversant with it.
Artha is the acquisition of arts, land, gold, cattle, wealth, equipages and friends. It is further, the protection of what is acquired, and the increase of what is protected. Artha should be learnt from the king's officers and from merchants who may be versed in the ways of commerce. Artha should always be first practiced by the king for the livelihood of men is to be obtained from it only.
Kama is sensuous love, emotional feeling of attachment. In ancient Indian thought is recognized as the stimulus of action and personified as the god of erotic love. This is the enjoyment of appropriate objects by the five senses of hearing, feeling, seeing, tasting and smelling, assisted by the mind together with the soul. The ingredient in this is a peculiar contact between the organ of sense and its object, and the consciousness of pleasure which arises from that contact is called Kama. Kama is to be learnt from the Kama Sutra (aphorisms on love) and from the practice of citizens. When all the three, viz. Dharma, Artha and Kama, come together, the former is better than the one which follows it, i.e. Dharma is better than Artha, and Artha is better than Kama. Kama being the occupation of public women, they should prefer it to the other two, and these are exceptions to the general rule.
Moksha is freedom from birth and death. In Hinduism, liberation from the bondage of worldly action is based on detachment and freedom within oneself. The nearest English equivalent is salvation.
According to the Kamasutra, all of these aspects of the life of a human being, should be of equal importance, without any of these spheres taking precedence over the others. In order to attain a fulfilled and meaningful life, the striving after one goal shouldn't hamper the striving after the others. Neglecting one of these areas leads to a diminished stability and to a dangerous imbalance in man. Practicing dharma, artha and kama makes it possible to lead a meaningful and joyous life in this world and the next. Sexuality and Erotic are seen as being important, integrated elements of the human existence - the same as eating - and apart from serving the sensual pleasures , also help mankind to propagate , just as eating keeps the body alive. The sensual pleasures of erotic and sexuality not only serve to increase the joy of life and maintain psychological balance, but aid the further development of the mental-spiritual spheres. The senses are perceived as being a refinement of the physical on a higher plane of consciousness whereby, in conclusion, sexuality and erotic contain the secret of life within them.
KAMADEVA - Angel of Love and Sex
Kāmadeva (Sanskrit: कामदेव) is the Hindu Cupid, deity of love like Eros or Amor. Kāmadeva is represented as a young and handsome winged man who wields a bow and arrows. His bow is made of sugarcane with a string of honeybees, and his arrows are decorated with five kinds of fragrant flowers. The five flowers are: Ashoka tree flowers, white and blue lotus flowers, Mallika tree and Mango tree flowers. A terracotta murti of Kamadeva of great antiquity is housed in the Mathura Museum, UP, India. His other names include Ragavrinta (stalk of sassion), Ananga (incorporeal), Kandarpa ("inflamer even of a god"), Manmatha (churner of hearts), Manosij (he who is born of mind, a contraction of the Sanskrit phrase Sah Manasah jāta), Madana (intoxicating), Ratikānta (lord of the seasons), Pushpavān, Pushpadhanva (one with bow of flowers) or just Kāma ("longing"). Kamadeva, is son of Hindu goddess Sri (Shri, Śri) and, additionally, is the incarnation of Pradyumna, Krishna’s son. In his spiritual form he is believed to be Krishna, by Vaishnava followers in Hinduism.
The name Kama-deva (IAST kāma-deva) can be translated as 'divine love' or 'god of love'. Kamadeva is also a known as a name of Vishnu in Vishnu Purana and Bhagavata (SB 5.18.15). It is also sometimes used as name of Shiva and the name of author of Sanskrit work Prayaschita padyata. Kamadeva is one of the names and epithets used for Krishna. Deva means heavenly or divine. Kama (IAST kāma) can be literary translated as wish, desire or longing, especially as in sensual love or sexuality. Kama is also a name used for Agni. The name is also used in Rig Veda (RV 9, 113. 11). Kameshwara Temple, in Aragalur. The Stala purana indicates that Kamadeva woke up Shiva at this place. The temple has eight Bhairava statues. Kamadeva is this who tried distract Lord Siva from deep meditation with his passionate influence and feminine associates. He is distinguished from spiritual Kamadeva in vaishnava cult. According to the Shiva purana, Kamadeva is a son or a creation of Brahma while according to other sources including the Skanda purana, Kamadeva is a brother of Prasuti; they are both the children of Shatarupa, a creation of Brahma. Later interpolations consider him as son of Vishnu. All sources concur on the fact that Kamadeva is wed to Ratī Devī, a daughter of Prasuti and Daksha.
The deity of Kamadeva along with his consort Rati-devi is included in the pantheon of Vedic-Brahmanical deities such as Shiva and Parvati. In Hindu traditions for the marriage ceremony itself, the bride's feet are often painted with pictures of Suka, the parrot vahana of Kamadeva. One should not misunderstand or associate worship of Kamadeva, as being sexually oriented, as the religious rituals addressed to him offer a means of purification and reentry into the community. Devotion to Kamadeva keeps desire within the framework of the religious tradition. Kamadeva also appears in other stories and becomes the object of certain devotional rituals for those seeking health, physical beauty, husbands, wives, and sons. In one story Kamadeva himself succumbs to desire, and must then worship his lover in order to be released from this passion and its curse. His companions are a cuckoo, a parrot, humming bees, the season of spring, and the gentle breeze. All of these are symbols of spring season. Images and stories about Hindu god Kamadeva are traced to the verses of the Rig Veda and Atharva Veda although he is better known and lesser known stories of the Puranas.
The story of the birth of Kamadeva is told differently in several Puranas. In some stories Kamadeva arises from the mind of the creator, Brahma. In other stories he is the son of Sri (Shri Devi). Kamadeva is sometimes portrayed as being completely at the service of Indra. Just as Siva accepted Ganga, flowing from the snowy mountain, Kamadeva married his consort Rati. She carries a discus and a lotus in her hands, with arms compared with the lotus-stalks. Rati is often a minor character in many traditional dramas involving Kamadeva, she is in some ways represents an attribute of the god of desire. Goddess Vasanta also accompanies Kamadeva, but unlike Rati whose very essence is desire, Vasanta emerges from a sigh of frustration. Kama is often takes park in Puranic battles. As a warrior, Kamadeva needs troops of soldiers.
THE SECRET PRAYER for LOVE
Lord Kama-Deva is worshiped and invoked by the gayatri mantra, and the specific mantra by which He is worshiped is called kama-gayatri. Vedic literatures explain that that sound vibration which can elevate one from mental concoction is called gayatri. The kama-gayatri mantra is composed of 24 (16+8) syllables and Om is for beginning and sometimes samput, additional syllabe like klim (kleeng). The mantrika word "klim" added to the gayatri mantra is explained in Brahma-samhita as the transcendental seed of love of Godhead, or the seed of the kama-gayatri.
kāma-gāyatrī mantram
Om (klim, klIM, kleeng)
kama-devaya vidmahe pushpa-banaya dhimahi |
tanno 'nangah pracodayat ||
kA-ma--de-vA-ya vi-dma-he pu-shpa--ba-nA-ya dhI-ma-hi |
ta-nno 'na-ngaH prA-co-da-yAt ||
This kama-gayatri is received from the spiritual master when the disciple is advanced in chanting and meditation upon Kama-Deva, the Archangel of Love. In other words, this kama-gayatri mantra and samskara, or reformation of a perfect brahmana, are offered by the spiritual master (acarya, guru) when he sees that his disciple is advanced in spiritual knowledge and practice. Even then, the kama-gayatri is not uttered under certain circumstances. Spiritual sex is of two kinds: one in accordance with the constitutional position of the self and the other in accordance with the object. When one understands the truth about this life but is not completely cleansed of material contamination, he is not factually situated in the transcendental abode, Devachan, Salokhya, although he may understand spiritual life. When, however, one becomes free from the sex urges of the material body, he can actually attain the supreme abode of Salokhyam. When one is so situated, he can utter the kama-gayatri and kama-bija mantra "klim" or mantram Om klIng (klIM) namaH. Short tantrika mantram toward Kaama Deva is: Om Shri Kaamaaya Namah! or Om Shri Kaamadevaaya Namah! It is for gaining your aim love in your life and love angel protection.
RATI DEVI
In Hinduism, Rati (hindi: रति ) is the goddess or femine angel (angeline) of passion and lust, and a daughter of Daksha. She married Kāma, the Lord God of Love. Rati was the Hindu goddess of sexual desire and erotical love. She was the daughter of the sun god Daksha and the wife of Kama, the god of love in Hindu myth. He is a son of Lakshmi. Kama is represented as a winged youth bearing bow and arrows similar to the Greek Eros. Rati's father Daksha probably began as one of the pre-Vedic deities of India. In Vedic and post-Vedic times he took on differing characteristics. He is named as one of the Prajapatis, the lords of creation, and is one of the children of Aditi. Later he became one of the Rishis, and is the son of Brahma, having been born of the creator-god's right thumb. He may have had aspects as a creator-god or sun god himself at one point, but these are only alluded to. Kama's mother, Lakshmi, the Hindu goddess of good fortune and beauty. She arose from the milky foam of the waves at the "Churning of the Ocean". Lakshmi is the consort of Vishnu, and is his wife during each of his incarnations and also known as Sri (Shri). Kama is called Kama Ananga ("Kama the bodiless") as well. Kama's body was destroyed when he fired his weapon at Shiva in order to disrupt his meditations. Shiva then opened his third eye, the gaze of which was so powerful that Kama's body was reduced to ashes. For the sake of Kama's wife Rati (passion), Shiva restored him, but only as a mental image, representing the true emotional and mental state of love rather than physical lust. Tantrika mantram toward Rati Devi: Om Shri Ratyai Namah! It is for restoring plesure in relation.
Parts and Chapters of Kama-Sutra
The Kama Sutra written by Vatsyayana consisted of mystical seven sections further divided into mystucal number thirty-six chapters. We will discuss each of these sections to glean the details of what Vatsyayana was trying to convey in the Kama Sutra and the importance he placed on specific subjects. The Mallanaga Vatsyayana's Kama Sutra has 36 chapters, organized into 7 parts. According to both the Burton and Doniger translations, the contents of the book are structured into 7 parts like the following:
1. Sadharanadhikaranam - Introductory, General Observations
Chapters on contents of the book, three aims and priorities of life, the acquisition of knowledge, conduct of the well-bred townsman, reflections on intermediaries who assist the lover in his enterprises (5 chapters). The first section of the Kama Sutra consisted of five chapters explaining the contents of the manuscript, the three major aims and priorities of life according to the Hindu belief system of the day, the acquisition of knowledge, suitable conduct for the well-bred townsman and various reflections on intermediaries who assist the lover in his enterprises.
2. Samprayogikadhikaranam - On sexual union
Chapters on stimulation of desire, embraces types, caressing and kisses, marking with nails, biting and marking with teeth, on copulation (positions), slapping by hand and corresponding moaning, virile behavior in women, superior coition and oral sex, preludes and conclusions to the game of love. It describes 64 types of sexual acts (10 chapters). The second section of the Kama Sutra consisted of ten chapters on the stimulation of desire, various forms of embraces, caressing and kisses, marking a partner with the use of the finger nails, biting and marking a partner using the teeth, on positions of copulation, explanations of sexual practices such as slapping with the hand and moaning that accompanied the practice, evidence of virile behavior in women, superior coitus and oral sex practices, along with preludes and conclusions to the game of love. There are 64 types of sexual acts described in this section which has become the part of the Kama Sutra for which the book is most widely known.
3. Kanyasamprayuktakadhikaranam - About the acquisition of a wife; On Acquiring Virgins
Chapters on forms of marriage, relaxing the girl, obtaining the girl, managing alone, union by marriage (5 chapters). Section three of the Kama Sutra consists of Five chapters on the forms of marriage, how to relax and obtain the girl, how to manage alone when a suitable wife cannot be found and the union by marriage.
4. Bhayardhikatikadhikaranam - About a wife's
Chapters on conduct of the only wife and conduct of the chief wife and other wives (2 chapters). Section four consist of counsel to the various types of wives a Hindu gentleman may have had. There are two chapters dealing with the conduct of the wives. The section of the Kama Sutra yields advice to the solitary wife in how she should conduct herself. This section of the Kama Sutra also explained the conduct of the chief wife and other wives in a household with multiple wives and concubines.
5. Paradarikadhikaranam - About the wives of other people; On Extra Marital Relations
Chapters on behavior of woman and man, encounters to get acquainted, examination of sentiments, the task of go-between, the king's pleasures, behavior in the women's quarters (6 chapters). This section of the Kama Sutra consisted of six chapters on behavior of women and men. It included advice on the methods of seducing another mans wife, including encounters for getting acquainted, examination of sentiments, the tasks and advantages of go-betweens, the king’s pleasures such as his harem and ways the brave could circumvent security measures and enjoy those pleasures themselves, as well as the proper behavior of a Hindu gentleman in the gynoecium or womens apartments.
6. Vaishikam - About courtesans
Chapters on advice of the assistants on the choice of lovers, looking for a steady lover, ways of making money, renewing friendship with a former lover, occasional profits, profits and losses (6 chapters). Section Six of the Kama Sutra consisted of six chapters on making the best use of the advice of the assistants on choosing lovers, the search for a steady lover, the courtesans skill set and ways of making money, how best to renew friendship with a former lover, creating occasional profits and dealing with profits and losses associated with being a courtesan.
7. Oupanishadikadhikaranam - On Secret Devices; On the means of attracting others to one's self
Chapters on improving physical attractions, arousing a weakened sexual power (2 chapters). The two chapters of section seven of the Kama Sutra deal mainly with thoughts on improving physical attractiveness to others and arousing a weakened or failing sexual power.
Pleasure and Spirituality
Some Indian philosophies following the "four main goals of life", known as the purusharthas:
1). Dharma: Virtuous living.
2). Artha: Material prosperity.
3). Kama (kAma): Aesthetic and erotic pleasure.
4). Moksha (mokSha): Liberation.
Dharma, Artha and Kama are aims of everyday life, while Moksha is release from the cycle of death and rebirth. The Kama Sutra (Burton translation) says:
"Dharma is better than Artha, and Artha is better than Kama. But Artha should always be first practised by the king for the livelihood of men is to be obtained from it only. Again, Kama being the occupation of public women, they should prefer it to the other two, and these are exceptions to the general rule." (Kama Sutra 1.2.14)
Of the first three, virtue is the highest goal, a secure life the second and pleasure the least important. When motives conflict, the higher ideal is to be followed. Thus, in making money virtue must not be compromised, but earning a living should take precedence over pleasure, but there are exceptions. In childhood, Vātsyāyana says, a person should learn how to make a living; youth is the time for pleasure, and as years pass one should concentrate on living virtuously and hope to escape the cycle of rebirth.
The Kama Sutra is sometimes wrongly thought of as a manual for tantric sex. While sexual practices do exist within the very wide tradition of Hindu tantra, the Kama Sutra is not a tantric text, and does not touch upon any of the sexual rites associated with some forms of tantric practice. Also the Buddha preached a Kama Sutra, which is located in the Atthakavagga (sutra number 1). This Kama Sutra, however, is of a very different nature as it warns against the dangers that come with the search for pleasures of the senses.
Translations of Kamasutra
The most widely known English translation of the Kama Sutra was made by the famous traveler and author Sir Richard Francis Burton and compiled by his colleague Forster Fitzgerald Arbuthnot in 1883. Historian Burjor Avari has criticized Burton's translation as "inadequate," having had the result that the book gained a reputation in the West of being a pornographic work. A recent translation is that of Indra Sinha, published in 1980. In the early 1990s its chapter on lovemaking positions began circulating on the internet as an independent text and today is often assumed to be the whole of the Kama Sutra.
Alain Daniélou contributed a translation called The Complete Kama Sutra[16] in 1994. This translation featured the original text attributed to Vatsayana, along with a medieval and modern commentary. Unlike Burton’s version, Alain Danielou’s new translation preserves the numbered verse divisions of the original and includes two essential commentaries: the Jayamangala commentary, written in Sanskrit by Yashodhara during the Middle Ages, and a modern Hindi commentary by Devadatta Shastri. Another noteworthy difference is the preservation of the full explicitness of the original text. All aspects of sexual life have been mentioned -- including marriage, adultery, prostitution, group sex, sadomasochism, male and female homosexuality, and transvestism. It was translated again in 2002 by Wendy Doniger, the professor of the history of religions at the University of Chicago, and Sudhir Kakar, the Indian psychoanalyst and senior fellow at Center for Study of World Religions at Harvard University. Their translation provides a psychoanalytic interpretation of the text.
Kamashastra and Kāvya Poetry
One of the reasons for interest in these ancient manuals is their intimate connection with Sanskrit ornate poetry (Kāvya). The poets were supposed to be proficient in the Kamashastra. The entire approach to love and sex in Kāvya poetry is governed by the Kamashastra. Successors and commentators of Vatsyayana are Kokkoka, Jyotirisa Kavisekhara, Padmasi, Jayadeva, Devaraja, Rajanaka Ruyyaka, Sridhara, Kalyanamalla, Virabhadradeva, and others.
Vatsyayana and His Terms on Eroticism
Embrace (Alingana),
Kiss (Cumbana),
Scratches (Nakhacchedya),
Bites (Dantacchedya),
Combinations and Coital postures (Samvesanaprakaras),
Slapping (Prahanana) and moaning (Sitkara),
Girp (Grahana),
Sporting with hair (Kacagraha),
Rubbing (Mardana),
Enteing the tongue (Jihavapravetha),
Sucking (Cusana),
Exciting the nerves (Nadiksobhana),
Sport of elephant's trunk (Karikarakrida),
Sports from woman's side-Santadita,
Types of lovers (Nakanayikabheda),
Erogenous Zones and erogenous dates, Sanketa-lover's code language
Ananga Ranga
The Ananga Ranga (Stage of Love) or Kamaledhiplava (Boat in the Sea of Love) is an Indian love manual written by Kalyana malla in the 15th or 16th century AD. The poet wrote the work in honor of Lad Khan, son of Ahmed Khan Lodi. He was related to the Lodi dynasty, which from 1451 to 1526 ruled India. It is aimed specifically at preventing the separation of a husband and wife. This work is often compared to the Kama Sutra. It was translated by Sir Richard Francis Burton into English in the year 1885. Satisfaction and enjoyment comes for a man with possession of a beautiful woman. Men marry because of the peaceful gathering, love, and comfort and they often get nice and attractive women. But the men do not give the women full satisfaction The reason is due to the ignorance of the writings of the Kamashastra and the disdain of the different types of women. These men view women only from the perspective of an animal. They are foolish and spiritless. The work was intended to show that a woman is enough for a man. The book provides instructions in how a husband can promote the love for his wife through sexual pleasure. The husband can so greatly enjoy living with his wife, that it is as if he had lived with 32 different women. The increasingly varied sexual pleasures are able to produce harmony, thus preventing the married couple from getting tired of one another. In addition to the extensive catalogue of sexual positions for both partners, there are details regarding foreplay and lure.
List of Kamashastra Works
Lost Kama Works
* Kâmashâstra of Nandi or Nandikeshvara. (1000 chapters)
* Kâmashâstra of Auddalaki Shvetaketu (500 chapters)
* Kâmashâstra or Bâbhravyakârikâ
* Kâmashâstra of Chârâyana
* Kâmashâstra of Ghotakamukha
* Kâmashâstra of Gonardîya
* Kâmashâstra of Gonikâputra
* Kâmashâstra of Dattaka. According to the legend, the author Dattaka was transformed into a woman during a certain time.
* Kâmashâstra or Ratinirnaya of Suvarnanâbha
Medieval and Modern Texts
* Kalyanmalla's Anangaranga
* Dattakasûtra by king Mâdhava II of the Ganga dynasty of Mysore
* Janavashya by Kallarasa, Based on the Ratirahasya of Kakkoka.
* Jayamangala, (Jayamangla), by Yashodhara, important commentary on the Kama Sutra
* Jaya by Devadatta Shâstrî Hindi commentary on the Kama Sutra, 20th century.
* Kâmasamuha by Ananta (15th century)
* Kama Sutra
* Kandarpacudamani
* Kuchopanishad or Kuchumâra Tantra of Kuchumâra
* Kuchumara's Kuchopanisad (10th century)
* Kuttînimata of Damodara Gupta, written by a Kashmiri poet (8th century) (Kuttanimata)
* Mânasollâsa or Abhilashitartha Chintâmani by king Someshvara or Somadeva III of the Châlukya dynasty by Kalyâni A part of this encyclopedia, the Yoshidupabhoga, is devoted to the Kamashastra. (Manasolasa or Abhilashitachintamani) [1] [2]
* Nagarasarvasva by Bhikshu Padmashrî (buddhist) (Nagarsarvasva) (10th/11th century)
* Panchashâyaka by Jyotirîshvara Kavishekhara (Panchasakya, Panchsayaka) (14th century)
* Rasamanjari (Rasmanjari) by poet Bhânudatta
* Ratikallolini by Dikshita Samaraja.
* Kokkoka's Ratirahasya
* Ratimanjari by poet Jayadeva Synthesis of the Smaradîpika by Minanatha
* Ratiratnapradîpika by Praudha Devarâja, Maharaja of Vijayanagara (15th century)
* Shringararasaprabandhadîpika by Kumara Harihara
* Smaradîpika by Minanatha
* Ksemendra's Samayamatrka
* Harihar's Shrngaradipika
* Smarapradîpika by Gunâkara, son of Vachaspati (Smara Pradipa)
* Sûtravritti by Naringha Shastri 18th century, commentary on the Kama Sutra
* Vâtsyâyanasûtrasara by Kshemendra, Kashmiri author, commentary on the Kama Sutra (11th century)
Hindu Sexuality in Ancient Times
Indian civilization can be considered amongst the most ancient with the ancient Indus Valley civilization being contemporary to ancient Egypt and Sumer, spreading across modern India and Pakistan at its peak, 4000 years ago. During this period, not much is known about social attitudes toward sex. One thing that has been observed about sexuality in the Indus Valley civilization is the practice of fertility rituals. Early philosophy and theology related to sexuality may have developed during this time. The first evidence of attitudes towards sex comes from the ancient texts of Hinduism, Buddhism and Jainism, the first of which are perhaps the oldest surviving literature in the world. These most ancient texts, the Vedas, reveal moral perspectives on sexuality, marriage and fertility prayers. The epics of ancient India, the Ramayana and Mahabharata, which may have been first composed as early as 1400 BCE, had a huge effect on the culture of Asia, influencing later Chinese, Japanese, Tibetan and South East Asian culture. These texts support the view that in ancient India, sex was considered a mutual duty between a married couple, where husband and wife pleasured each other equally, but where sex was considered a private affair, at least by followers of the aforementioned Indian religions. It seems that polygamy was allowed during ancient times. In practice, this seems to have only been practiced by rulers, with common people maintaining a monogomous marriage. It is common in many cultures for a ruling class to practice polygamy as a way of preserving dynastic succession.
It is likely that as in most countries with tropical climates, Indians from some regions did not need to wear clothes, and other than for fashion, there was no practical need to cover the upper half of the body. This is supported by historical evidence, which shows that men and women in many parts of ancient India mostly dressed only the lower half of their bodies. Whilst this has changed in modern times, it is likely that taboo against nudity was not present in many Asian, African and South American civilisations and the taboo in Europe is a matter of climatic necessity. As Indian civilisation further developed over the 1500 years after the births of Buddha and Mahavira, and the writing of the Upanishads around 500 BCE, further historical evidence, art, and literature shows that ancient Indian society was perhaps as sexually tolerant as many modern European and East Asian countries.[citation needed] It was somewhere between the 1st and 6th centuries that the Kama Sutra, originally known as Vatsyayana Kamasutram ('Vatsyayana's Aphorisms on Love'), was written. This philosophical work on kama shastra, or 'love science', was intended as both an exploration of human desire, including seduction and infidelity, and a technical guide to pleasing a sexual partner within a marriage. This is not the only example of such a work in ancient India, but is the most widely known in modern times. It is probably during this period that the text spread to ancient China, along with Buddhist scriptures, where Chinese versions were written.
The Tantric school of Indic/Hindu philosophy formed at some point in this period, and part of the philosophical system was the idea that sex, as a basic and powerful desire experienced by all humans, could be utilised as a way of achieving enlightenment. Some ardent devotees of this system for example might deliberately break sexual taboos that were ridiculed, such as extramarital sex, to master human nature and achieve greater understanding of the universe, their soul. The Tantric tradition spread throughout Asia as far as Japan. It is also during this period that some of India's most famous ancient works of art were produced, often freely depicting nudity, romantic themes or sexual situations. Examples of this include the depiction of Apsarases, roughly equivalent to nymphs or sirens in European and Arabic mythology, on some ancient temples, which were used to remind people of the romantic duty that married couples should perform as part of dharma. The best and most famous example of this can be seen at the Khajuraho temple complex in central India. Other examples of this classical art include the ancient frescos of various cave temples, such as those at Ajanta.
The Origin of the Kamasutra
According to old Indian sources, the ten thousand chapters of the Kamasutra were announced by Prajapati, an abstract deity who, for a long time, was regarded as the god of creation. Mahadeva (the High-Deity Shiva) compiled the ten thousand chapters which in turn were compressed into five hundred chapters by Shvetaketu, a teacher of philosophy and the son of Udalaka. The Kamasutra was transcribed by Vatsyayana in the form of Sutras written in Sanskrit, the ancient Indian tongue, which even today is a living, academic language. Sutras are directives or memory-jogs for adepts, which because they take the form of short, maxims in prose, which are difficult to understand without a commentary. We are dealing here most probably with predecessor of the teaching-books , which was handed down by word of mouth. The treatises of Shvetaketu on which the Kamasutra was based, have been lost. The translations from the Sanskrit which we have today, refer to recognized commentaries made in later centuries.
VATSYAYANA'S CONTRIBUTION
The Kama Sutra, is the earliest surviving example of a written Hindu love-manual. It was compiled by the Indian sage Vatsyayana sometime between the second and fourth centuries A.C.E. His work was based on earlier Kama Shastras or "Rules of Love" going back to at least the seventh century B.C.E., and is a compendium of the social norms and love-customs of patriarchal Northern India around the time he lived. Vatsyayana's Kama Sutra is valuable today for his psychological insights into the interactions and scenarios of love, and for his structured approach to the many diverse situations he describes. He defines different types of men and women, matching what he terms "equal" unions, and gives detailed descriptions of many love-postures. The Kama Sutra was written for the wealthy male city-dweller. It is not, and was never intended to be, a lover's guide for the masses, nor is it a "Tantric love-manual." About three hundred years after the Kama Sutra became popular, some of the love-making positions described in it were reinterpreted in a Tantric way. Since Tantra is an all-encompassing sensual science, love-making positions are relevant to spiritual practice.
Kama Sutra and Tantra Sacred Space
What is the difference between “sex” and “sacred sex” according to Tantra? Essentially, the difference is your attitude and intention. It is primarily through ceremony and ritual that we communicate with our souls. Creating a sacred space for loving is one of the best ways of signaling to your deepest or highest consciousness that your intention is to elevate lovemaking to an art and a sacrament. In this way the lovers may graduate from ordinary friction sex in which bodies rub together for pleasure, to energy sex in which there is a deep emotional and energetic connection, and ultimately if love is present to the complete union of soul sex. We are all ordinary human beings, and yet we are at once god and goddess, simultaneously flawed and wonderful. In sacred loving each of you brings to it your absolute best, and each of you looks for and expects to find the best in your partner. You treat each other as the god and goddess you actually are. You offer your lovemaking to God, Brahman, Shaktishiva, as a way to honor Him, to celebrate His love and blessings and to the Goddess for the great abundance that surrounds you. However attractive your lovemaking space is when you start, take 10-15 minutes to transform it by adding fresh flowers or plants, changing the lighting with lots of candles, selecting the perfect music, draping beautiful pieces of cloth over hard edges, bringing in special objects that have emotional or spiritual significance for both of you such as photographs or gifts you have given each other previously.
TANTRA EROTIC MASSAGE
Massage is one of the easiest and surest ways to disconnect from the many demands of a busy life and to connect with your lover. You can give your lover a full-body massage in under 7 minutes. This will get you both out of your heads and into your bodies. Ecstasy in lovemaking is not essentially a mental process; rather it requires that you pay attention to sensory information (sight, taste, touch, smell and kinesthetic sensations), any or all of which will get you into your body, fully present in the now moment. Any time one of the lovers is keen for lovemaking, but the other is too tired, try giving your partner a full body massage. This will sometimes awaken your lover’s sexual energy so that he becomes aroused and able to participate in more active lovemaking. Be sure not to use this offering of massage in a manipulative way, as a strategy for getting your partner to be interested in sex just because you are. Offer the massage as an unconditional gift, with no expectation of anything in return.
An excellent starting point for a relaxing and invigorating massage is the back.
* Begin at the base of his spine with your palms on his sacrum (just above his tailbone).
* Inhale.
* As you exhale slide your hands up his back on either side of his spine.
* With a firm touch, follow the line of his shoulders out from his neck.
* Slide your hands down the outer sides of his back, coming to rest again at the base of his spine.
* Do it again and again and revel in his sighs of pleasure.
* Move on to his buttocks or shoulders or neck or arms—wherever your hands feel compelled to go.
If you are giving your lover a full body massage, make sure to cover every part of his body—ears, toes, eyes (very softly), fingers—not just the major sections like legs and back. His whole body has skin hunger.
Giving each other a massage as a first course of sexual play adds to your entire experience. Both partners are able to relax, leave the world behind, and be in the moment together. With massage, a woman’s body begins to awaken for arousal—her erotic side receives the time and attention she needs to “get in the mood”. A man whose body is relaxed so that his energy can flow more freely is able to last much longer. You can perform massages just about anywhere—bed, floor, couch—but most comfortable for the masseur is a table at about hip height. It is not likely you have a portable massage table at home, but you do have a kitchen or dining table. With firm cushions, a foam mat or even an air mattress on top covered by a sheet, they make great massage surfaces. If the kitchen or dining rooms do not afford you as much privacy as you would like, move the table into your bedroom. Massages are easy to do as well as fun to give and receive. You do not have to have any training to give your mate a thoroughly satisfying massage, although if you would like more guidance there are some excellent Tantra course with experienced leaders.
If you are unsure how to begin to give a massage there are a few simple strokes you can learn to master easily. You cannot go wrong by starting out with slow, gentle pressure in your strokes. Ask your partner to tell you if she would like more intensity as you go. The more massages you give each other the easier it will become to know what is needed through the messages your hands give you. Nevertheless, whenever you are receiving a massage communicate your desires and sensations with loving requests and appreciative sounds—give your masseur informative and thankful feedback.
* Long, smooth, firm strokes following the line of muscle up and down his body.
* Circular motions, especially at joints.
* Kneading—slowly and firmly squeezing muscle between fingers and palms of your hands, then letting go and repeating—particularly in large muscle groups like shoulders, back, buttocks and thighs.
* Feathering—very light fingertip strokes—primarily for erotic massage, the arousal of skin to skin contact.
* Rocking, with one hand on either side of your partner’s body, or a particular part of it, her buttocks for example, gently rock back and forth.
It is a delicious treat to receive a full body massage that lasts any where from thirty minutes to a couple of hours, but you can also give your lover a boost with a massage “quickie”. You can effectively energize and loosen him up from top to toe in five to seven minutes. Try this in various situations:
* Near the beginning of your sacred loving time.
* As a refreshing pause from strenuous sexual activity.
With erotical tantric massage you may to start or end your day. Working a massage from the top to the bottom—starting at her head and shoulders and finishing at her feet, with most of your strokes in a downward motion—is generally relaxing, draining tension away and down. Working in the opposite direction—starting at her fee and finishing at her head with most of your strokes going up her body—can be extraordinarily enlivening as energy builds and moves upwards.
Primarily for arousal, erotic massage focuses, although not exclusively, on tantalizing skin-to-skin contact that becomes increasingly sexual as the massage continues. Using light, feathery touches begin moving inwards from the extremities of your lover’s body, for example from her toes, up her feet, to calves and thighs, stopping just short of her genitals, or her fingers to palms to inner elbows to armpits and almost to her nipples. Only slowly, as her body awakens under your teasing touch do you move on to actually caress her hot sexual spots. With erotic massage you may use not only your hands but also your tongue, lips, hair or other exotic aids like feathers and even ice cubes. Add more spice with a blindfold or by loosely binding your lover’s wrists and ankles to the bed corners so she is at your tender mercy. Not all massages are equal; some are more for relaxation and energetic revival, while others can be particularly erotic building high states of passion and sexual excitement. A simple blindfold will add a note of mystery to any erotic massage. A teasing, sensual, erotic massage is a wonderful gift to each other, as exciting and satisfying for the giver as the receiver. While your lover is blindfolded, entice him with mysterious sounds, scents, and sensations. Touch him all over with feathers, ice cubes, hot oil, silk cloth, and parts of yourself, of course. Appeal to all five senses in your tantalizing play.
SPIRITUAL SEX POSTURES
An ingenious person should multiply the kinds of congress after the fashion of the different kinds of beasts and of birds. For these different kinds of congress, performed according to the usage of each country, and the liking of each individual, generate love, friendship, and respect in the hearts of women. (Kamasutra, 1883)
There are originally just eight positions detailed on the book, and eight variations per position, making a total of sixty four positions in all. The number of Dharma is eight and this is a symbol. There are several categories on the art of love making as detailed in the Indian Kama Sutra written by Vatsyayana. These categories are the sitting positions, the standing positions, the rear-entry positions, the woman on top positions, and the man on top positions. People who choose to read the Indian version of Kama Sutra should read the book as a whole and try to apply the advice and teachings discussed in the book to real life. It should also be kept in mind that the book is not merely a guide on how to perform sex, but as a guide on how to live one’s life better and to establish better relationships with the people around him.
Generally, Tantras only recommend the use of only a few different love-postures during spiritual sex sessions. Five principle positions, all of which are found in the Kama Sutra, cover what is normally appropriate. These five principle Tantric love-making positions (which have many variations) are:
1) Man on his back, woman on top;
2) Woman on her back, man on top;
3) Woman and man on their sides, facing each other;
4) Woman with her back to the man;
5) Seated positions, normally face-to-face.
Vatsyayana's Kama Sutra is divided into seven parts; general remarks, amorous advances, acquiring a wife, duties and privileges of a wife, relations with other men's wives, and a section about courtesans and occult means. The seventh and last part of the Kama Sutra is an appendix to the main work. It includes detailed formulations of substances familiar to Ayurvedic (Indian indigenous) medicine, with the emphasis on virilifics and aphrodisiacs. Some magical procedures of a type that in later times would be described as Tantric, are also found in the last chapter of the Kama Sutra. The terminology used by Vatsyayana is context specific. For example, when he uses the word Yoga he is referring to sexual intercourse, the word Tantra means to him "method," "technique," or "mechanics," and he uses the word Yantra to mean the sexual organ "utilized as an instrument," or to mean a dildo or "artificial love device." Lingam specifically refers to the male sex organ, while Yoni refers to the female sex organ. The Kama Sutra has hardly any resemblance to any known Tantra, nor do any Tantras resemble it, except in their common inclusion of brief descriptions of love postures. Nevertheless, the Kama Sutra is the earliest surviving sexual "how-to" and set the stage for many others, including those in which sexual techniques, postures, potions, charms and superstitions were promoted over the centuries.
The Amazing Kama Sutra History
When Westerns people think of the Kama Sutra history, they automatically start to think of different sexual positions, commonly seen in books on tantra. Kama Sutra History is a very interesting and exciting knowledge to know about. The ancient Sanskrit text of the Kamasutram, more commonly known in western culture as the Kama Sutra, was originally written by Mallanaga Vatsyayana and is believed to be a master work on the ways of Love in all its forms. The Kama Sutra history is just one, though the most notable, of a larger collection of ancient Indian texts known as the Kama Shastra or Discipline of Kama. These texts were originally of a religious nature and common theology holds that the collection was handed down to mankind by Shiva’s doorkeeper, Nandi the sacred bull, after hearing the god, Shiva and Parvati, his wife having relations. The session so inspired the sacred bull to make utterance which was later recorded and passed down to the mankind for their benefit. It is believed that the present form of the Kama Sutra is a compendium that was gathered at some point in the second century CE althout some says that in the second millenium BCE.
Now The Kama Sutra was not just designed as a guide to better sex, but as a way to bring two people together closer than ever before. The idea behind The Kama Sutra history, best describes some of the modern teachings about how to increase the amount of love and connection between you and your partner. Etymologically speaking, according to the Kama Sutra history, Kama Sutra can be broken down into two Sanskrit words. The first being Kama, which is a reference to the Hindu god of Love, using the same name. In common language, it conveyed the ideas of desire, wish, intention, pleasure and love, especially in a sexual connotation. In chapter two of Richard Barton’s translation of the text, Kama is translated as “the enjoyment of appropriate objects by the five senses of hearing, feeling, seeing, tasting and smelling, assisted by the mind together with the soul. The ingredient in this is a peculiar contact between the organ of sense and its object, and the consciousness of pleasure which arises from that contact is called Kama.”
The second word, Sutra refers to a discourse delivered on a set of concise rules. Thus Sutra has the connotation of a technical study or manual. Thus, the Sutra was intended to educate the reader in the field of its particular study. Taken together, the words Kama Sutra imply a technical text on the aspects of properly enjoying the stimulation of the five senses and the demonstration of Love. Unfortunately, the simple wording of the title has led to many misconceptions regarding the text and it is to be noted that the Kama Sutra is neither a sex manual nor a sacred religious text, though it does incorporate both aspects into its writing. While the text is explicit in details of a sexual nature and also intones highly religious themes, it was intended to put Kama in to context with the other two aims of ancient Hindu life, Dharma and Artha. This is evidenced by Vatsyayana’s opening discussion of these three aims at the beginning of the text. Kamasutra is the best guide for sexual life for thouse who are practicing Dharma and Artha too.
SIR RICHARD BURTON
AND THE KAMA SHASTRA SOCIETY
Such passionate actions and amorous gesticulations or movements, which arise on the spur of the moment, and during sexual intercourse, cannot be defined, and are as irregular as dreams. A horse having once attained the fifth degree of motion goes on with blind speed, regardless of pits, ditches, and posts in his way; and in the same manner a loving pair become blind with passion in the heat of congress, and go on with great impetuosity, paying not the least regard to excess. For this reason one who is well acquainted with the science of love (Kamasutra), and knowing his own strength, as also the tenderness, impetuosity, and strength of the young women, should act accordingly. The various modes of enjoyment are not for all times or for all persons, but they should only be used at the proper time. and in the proper countries and places. (Kamasutra, 1883)
Sir Richard Francis Burton (1821-1890), the famous Victorian orientalist and traveler, kept an Indian girl as his mistress during his stay in India. Eventually he returned to England and in 1873, he and several friends founded the London Anthropological Society, issuing the periodical, Anthropologia. Concerning this, he wrote: "My motive was to supply travelers with an organ that would rescue their observations from the outer darkness of manuscript and print their curious information on social and sexual matters." This periodical was instrumental in educating many Victorian persons of influence about the diversity of human sexual behavior. Later, Burton co-founded the Kama Shastra Society. This small and highly secretive organization privately published the Kama Sutra (in 1883) and the Ananga Ranga (in 1885), the first ancient Hindu treatises on the arts of love to be translated into the English language. Amazingly they could not be "officially" published in English until the mid 1960s, following a landmark court case.
TANTRIC ORAL SEX - 69 POSITION
Tantric Oral loving is a classic way for lovers to serve up pleasure. Really, aren’t you a better person when you regularly experience pleasure according Kamasutra? Aren’t you nicer to be around and easier to get along with? Don’t you like yourself better when you are regularly experiencing pleasure? Sweet copulins pheromones are only produced in the vaginal canal. Men are chemically programmed to want to have their face at your pleasure-treasure cove! Pheromones are the chemical sexual attractants produced by animals to allure the opposite sex to mate. Both males and females produce pheromones. The vomeronasal organ, or Jacobson's organ, lies between the nose and mouth. With this organ human beings detect the presence of pheromones in their lovers. Even though the vomeronasal organ is located in the nose, pheromones are not scents in the same way a perfume is a scent, but many perfumes now have pheromones added. A man or woman who wears them is reportedly irresistible to the opposite sex.
Many women are under the mistaken assumption that men want a woman with a perfect “10” body, whatever that might be. This is a simple error of judgment that is cause for much suffering in women, and some of the most self-destructive behaviors such as eating disorders like anorexia and bulimia. What most men actually want is a woman to completely surrender to her passion in active lovemaking, to love it, to want it, and to enjoy herself completely without shame or guilt. This is the single greatest turn-on for almost every male lover. Men find such a woman completely irresistible, regardless of her body style. Many men enjoy having their genitals touched at any time and find that it leads to an instant erection. Women on the other hand, generally prefer not to have their breasts and genitals touched until after they are already sexually aroused. This important gender difference between men and women is the reason why we advise lovers NOT to follow the Golden Rule—don’t do unto your lover what you want done unto you, because they are different things!
One of the most common fantasies for a man is to have a beautiful sexy woman approach him, then without speaking, unzip his pants and suck him off fast and furious, with the whole episode being concluded in a matter of minutes. This fantasy is even juicier if it involves a woman he does not already know and happens in some public place such as at a cocktail party. The lovely lady then simply disappears and he never sees her again—no strings and no complications! Men are full of contradictions when it comes to blowjobs. They long for them, dream about them, wet-dream about them, and can never seem to get too many, but at the same time they may fear the very thing they desire. For one thing, with many men, fellatio can bring them to ejaculation very quickly. In the fantasy scenario above, this is not a problem, but in ordinary lovemaking it is extremely frustrating and downright embarrassing. If your man is one who tends to come very quickly, it is much better for both of you if you use a slower, gentler build-up of sexual arousal before there is any touching or sucking of that gorgeous stalk of jade
A man may also have a subconscious fear of being devoured by an insatiable, sexually hungry woman. So ladies, when you do take him into your luscious mouth, exploring with pouty lips and probing tongue, beware of frightening him with your voracious sucking hunger of lusty passion. Part of the Dracula myth is based upon man’s fear of being sucked dry out the end of his cock, in intercourse and fellatio. In a more ordinary lovemaking situation, as opposed to the fantasy of instant- fast- furious- fellatio, what your man is probably most desirous of is a very slow, very tantalizing, very seductive, very playful sucking that lasts on and on and on for a very long time. The way to be sure that he does not come too quickly, is that you must change what you are doing frequently, and as soon as he is showing a stage four, bone-hard erection, allow that erection to subside or he may ejaculate and in that way reject the very pleasure he really wants, and nice guy that he is, deserves.
DR. ALEX COMFORT AND THE JOY OF SEX
"Those things which increase passion should be done first, and those which are only for amusement or variety should be done afterwards." (Kamasutra, 1883)
"Though a woman is reserved, and keeps her feelings concealed; when she gets on the top of a man, she shows all her love and desire. A man should gather from the actions of the woman of what disposition she is, and in what way she likes to be enjoyed." (Kamasutra, 1883)
One of the ways that sexual barriers have been broken down in the West has been through the publication of sexual "how-to" books. Undoubtedly the most successful of all has been The Joy of Sex: a Gourmet Guide to Love Making by Dr. Alex Comfort, first published in 1972, now with more than eight million copies in print. Alex Comfort's Joy of Sex was not his first erotic work. In 1961 his Darwin and the Naked Lady, was published and drew attention to the value of Indian erotology. And in 1964, following in the footsteps of Sir Richard Burton's translation of the Kama Sutra, Alex Comfort's The Koka Shastra and other Medieval Indian writings on Love, another Hindu erotic classic, was published.
In the introduction to his English version of the Koka Shastra, Dr. Comfort points out that India and most other cultures have a rich and refined erotic literature, whereas Judaeo-Christian culture does not. He writes: "The Sanskrit textbooks on the art of love form a continuous sequence from remote antiquity to the sixteenth century AD or later, and on to the present time in vernacular versions and inspirations. Most great cultures, as well as many tribal societies, have had a literature of this kind" -- our own Judaeo-Christian tradition is almost unique in lacking one. Dr. Comfort then explains how, because of Western culture's fear and rejection of sexuality, persons interested in sexual topics had either to turn to the classics of antiquity or to certain ecclesiastical or medical writings. Alex Comfort's Joy of Sex and More Joy of Sex gave many people "permission" to explore their sexuality, to have sexual adventures without feeling guilty. The tremendous success of his books indicates the great need for "sexual liberation" that many people seek.
YAB-YUM TANTRA POSITION
"Let the man, ascending the throne of love, Enjoy the woman in ease and comfort". Ananga Ranga
"Pleasures are as necessary for the well-being of the body as food." - Kama Sutra
Transform your love-making into erotic ecstasy with the most ancient, renowned and explicit guide to sexual pleasure. Beautiful YAB YUM erotical and mystical position. Like a lotus flower, opening and closing, this session will involve a journey through Tantric arenas and bring you out of the journey a whole new person. You will enter a Tantric ritual chamber like you have been summoned by the sexual energies yourself. Worshipped by your own divinity. Feel free to explore as you have steep out of the massage levels into Tantric Sexual Skills. This session involves sexual dances in Yab yum and other Kama Sutra positions. You have experienced session YONI and YAB YUM and EXOTIC, now pass yourself into the next level of total bliss. Learn to use breath and visualization to help you move and share your sexual energy in the Tantric Yab-Yum position. Leading into avenues of ecstasy. This session will enable you to be a full Tantric sexual Goddess and Daka. You will have learned the fundamental lessons of Tantra, and now will travel to open the Chakras and fully connect with your partner, assisting in awakening your Kundalini. This session will enable you to travel further than anticipated. You will become Shiva. She will become Shakti and you will worship the divine within one another with total comfort and total relaxation. You will feel the free flow of energy, and be encapsulated by the God Master or the Goddess within. The Temple Dance is a short, sexy, sensual temple dance to arouse your visual senses and enable you to enter a world of worship. It is similar to an ancient Balinese trance dance. It's beautiful and mesmerizing to watch. The dancer channels her movements based on the energy you need, so it's very healing as well.
For most couples, if they can get the sex right, the rest of their relationship problems can be worked out much more easily. This is because to get the sex right requires that they do their inner spiritual work to become fit for relationship, which simply means that they learn how to give and receive love. One of the primary ways lovers give and receive love is with sexual lovemaking. The Kama Sutra emphasizes the necessity for people to learn the art of lovemaking at an early age, preparing them for the life commitment of marriage. There is a great deal more to a relationship than sexual knowledge and skill, but without that sexual knowledge and skill, many find their passion dies and they lose interest in each other, turning their attentions to others outside of the primary relationship. Partly this is simply a matter of sheer boredom. Anyone who has learned and mastered the techniques taught in the Kama Sutra would never become a boring lover.
G-POINT, KAMASUTRA and FEMALE EJACULATION
Women get an orgasm by proper stimulation of the clitoris, a small lap of skin just over the vagina. The clitoris can be stimulated by hand, using lubricating gel, by the woman herself or her partner. It can also be stimulated by mouth and tongue. If the clitoris is stimulated by her partner, this is usually done before the vaginal intercourse. Note that during normal vaginal sexual intercourse, the nerve endings in the man's penis are stimulated, but not the nerve endings in the womans clitoris. Only 30 % of all women get an orgasm through vaginal sexual intercourse according to Shere Hite. There is also a place inside the vagina, which can be stimulated to give an orgasm. This point is named the g-point and as "sacred place" in Tantra and Taoism. It is, however, difficult to find this point and stimulate it in the right way. Women who succeed in getting orgasm this way usually use the intercourse position with the woman on top of the man. The reason for this is that this position gives the woman the largest options to control the movements so as to stimulate the G-point. Some women have a problem in that stimulating the g-point causes a strong need to urinate.
Sometimes, couples start with foreplay and manual or oral stimulation, then switch to intercourse with the woman on top until the woman gets her orgasm, then switch to the man on top until the man gets an orgasm. But this is something each couple will have to try out what they prefer. After foreplay by kissing and fondling (may have to continue for up to 20-30 minutes) the partner or the person herself stimulates the clitoris (the are below the labia or genital lips, and above the vagina opening) by rapidly flicking a finger or the tongue back and forward or up and down. Do not press hard. If you are using a finger, be sure to use lots of lubricating gel (can be bought at a drug store). If you are using the tongue, lubricating gel is usually not necessary, since lubrication comes from the mouth. Ask her to concentracte on sexy thoughts at the same time. The G-point is located behind the pubic bone, on the abdominal side of the vaginal wall. Introducing the finger inside the vagina, you may feel that the tissue has a different texture in that area, and there are some folds. This is the urethral sponge, the analogue of the prostate in man, having the same structure of the pleasure organ. To find her gspot lay her on her back, and stick your finger all the way in and massage up, between there and her stomach. Trying pushing a little on her stomach. The G-point may also be stimulated from outside the body, through the pressure of the inner abdomen, right above the pubic bone. The prolonged stimulation of the area beneath the clitoris, on both sides of the urethral opening, continuing inside the vagina, to the G-point makes the woman experience intense and powerful orgasms.
The experts and scientist in the field of sexology had have endless debates on the margin of female ejaculation phenomenon. There are very few women who can make the difference between the lubrication liquid, the ejaculation liquid, and certain liquids that appear spontaneously during lovemaking, named in the Oriental tradition kalas. The ejaculatory secretions are clear and limpid. It is not urine, although the woman may feel as if she is about to urinate when the G-spot is stimulated. Some people say that this secretion comes from the glands in the urethral wall. It may vary in quantity from several milliliters to several cups. A woman may have several orgasms and still continue to ejaculate over a long period of time. Due to the lack of sexual education, women often think that they have urinated when in fact they ejaculated. Other sexologists consider that the ejaculating liquid in the case of women is a mixture of lubricating liquid, liquid from the paraurethral glands, liquid from the Bartholini glands and a small quantity of urine. The feeling of exhaustion following the feminine ejaculation is similar to that perceived by men after intercourse ended with ejaculation. The oriental tantric tradition sustains that there are women who experience very special states of mind during lovemaking and during these states are also manifested some special liquids named kalas.
The Gräfenberg spot, or G-spot, is a small area in the genital area of women behind the pubic bone and surrounding the urethra. It is named after German gynecologist Ernst Gräfenberg. It is the same as, or part of, the urethral sponge, the site of Skene's glands. There is no confirmed scientific evidence that supports the existence of a particular physiological area known as the "G-spot". The common belief that the "G-spot" is composed of a dense collection of nerve endings is not scientifically supported by existing research. Histological examinations have not revealed any especially concentrated areas of increased nerve endings in the area where a "G-spot" is reported to exist, leading to scientific uncertainty as to whether this area plays any special role in female sexual excitement. Stimulation of the G-spot (through the front wall of the vagina) promotes a more vigorous and satisfying orgasm, and is possibly the cause of female ejaculation from the Skene's glands, contained in the urethral sponge. Such stimulation requires a somewhat opposite thrust to that required to obtain maximal clitoral stimulation via the penis, and is often referred to in the vernacular as "riding high".
The G-spot may not be just one discrete spot. Natalie Angier contends that it is merely the deep nerves of the clitoris as they pass through the tissue to connect with the spinal column. The clitoris has deep roots and may in fact change in size and slightly change in location as hormone levels fluctuate throughout a woman's life. The shape of the penis determines which sexual positions best reach the G-spot. For instance, in missionary position intercourse, a penis that curves upward has a natural ability to exert more pressure on the front wall of the vagina. A man whose penis curves downwards, on the other hand, may find the doggy style position more suitable for stimulating the G-spot as the curve works against the front wall. Stimulation of the G-spot through the use of a finger or tongue is possible through the combined pressure of pushing down on the clitoris while arcing the tongue or finger upwards in a beckoning motion. The finger or tongue must be approximately 1-3 inches inside the vagina for this to work. However, different individuals require different forms of stimulation. The term 'G-spot' is also used by analogy as a slang term for the prostate gland in men, which may be stimulated through anal play or by pressing on the perineum (skin directly beneath the scrotum).
One of the reason a lot of men (and women) can't find the G-spot is because they solitary touch it or don't press hard ample. The G-spot responds to pressure, not just touch. It lies insightful within the vaginal wall so firm pressure is normally needed. So if you find you're not having much luck try pressing a litle harder. Once you've found the G-spot she'll know, and you'll know too! Not adjectives women orgasm with intercourse. You necessitate direct clitoril stimulation most of the time for orgasm with intercourse. YOur G-spot though is located purely inside your vagina. Insert your finger and feel the top of your vagina and you should consistency a roundish slightly rough patch. This is your G-spot. The G-spot is located behind the pubic bone inside the front wall of the vagina, about two to three inches philosophical.
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KAMASUTRA by Mallanaga Vatsyayana
The Kama Sutra of Vatsayayana
Sir Richard Burton, translator (1883)
Preface
Introduction
Part I-VII
Preface
In the literature of all countries there will be found a certain number of works treating especially of love. Everywhere the subject is dealt with differently, and from various points of view. In the present publication it is proposed to give a complete translation of what is considered the standard work on love in Sanscrit literature, and which is called the `Vatsyayana Kama Sutra', or Aphorisms on Love, by Vatsyayana.
While the introduction will deal with the evidence concerning the date of the writing, and the commentaries written upon it, the chapters following the introduction will give a translation of the work itself. It is, however, advisable to furnish here a brief analysis of works of the same nature, prepared by authors who lived and wrote years after Vatsyayana had passed away, but who still considered him as the great authority, and always quoted him as the chief guide to Hindoo erotic literature.
Besides the treatise of Vatsyayana the following works on the same subject are procurable in India:
The Ratirahasya, or secrets of love
The Panchasakya, or the five arrows
The Smara Pradipa, or the light of love
The Ratimanjari, or the garland of love
The Rasmanjari, or the sprout of love
The Anunga Runga, or the stage of love; also called Kamaledhiplava, or a boat in the ocean of love.
The author of the `Secrets of Love' was a poet named Kukkoka. He composed his work to please one Venudutta, who was perhaps a king. When writing his own name at the end of each chapter he calls himself `Siddha patiya pandita', i.e. an ingenious man among learned men. The work was translated into Hindi years ago, and in this the author's name was written as Koka. And as the same name crept into all the translations into other languages in India, the book became generally known, and the subject was popularly called Koka Shastra, or doctrines of Koka, which is identical with the Kama Shastra, or doctrines of love, and the words Koka Shastra and Kama Shastra are used indiscriminately.
The work contains nearly eight hundred verses, and is divided into ten chapters, which are called Pachivedas. Some of the things treated of in this work are not to be found in the Vatsyayana, such as the four classes of women, the Padmini, Chitrini, Shankini and Hastini, as also the enumeration of the days and hours on which the women of the different classes become subject to love, The author adds that he wrote these things from the opinions of Gonikaputra and Nandikeshwara, both of whom are mentioned by Vatsyayana, but their works are not now extant. It is difficult to give any approximate idea as to the year in which the work was composed. It is only to be presumed that it was written after that of Vatsyayana, and previous to the other works on this subject that are still extant. Vatsyayana gives the names of ten authors on the subject, all of whose works he had consulted, but none of which are extant, and does not mention this one. This would tend to show that Kukkoka wrote after Vatsya, otherwise Vatsya would assuredly have mentioned him as an author in this branch of literature along with the others.
The author of the `Five Arrows' was one Jyotirisha. He is called the chief ornament of poets, the treasure of the sixty-four arts, and the best teacher of the rules of music. He says that he composed the work after reflecting on the aphorisms of love as revealed by the gods, and studying the opinions of Gonikaputra, Muladeva, Babhravya, Ramtideva, Nundikeshwara and Kshemandra. It is impossible to say whether he had perused all the works of these authors, or had only heard about them; anyhow, none of them appear to be in existence now. This work contains nearly six hundred verses, and is divided into five chapters, called Sayakas or Arrows.
The author of the `Light of Love' was the poet Gunakara, the son of Vechapati. The work contains four hundred verses, and gives only a short account of the doctrines of love, dealing more with other matters.
`The Garland of Love' is the work of the famous poet Jayadeva, who said about himself that he is a writer on all subjects. This treatise is, however, very short, containing only one hundred and twenty-five verses.
The author of the `Sprout of Love' was a poet called Bhanudatta. It appears from the last verse of the manuscript that he was a resident of the province of Tirhoot, and son of a Brahman named Ganeshwar, who was also a poet. The work, written in Sanscrit, gives the descriptions of different classes of men and women, their classes being made out from their age, description, conduct, etc. It contains three chapters, and its date is not known, and cannot be ascertained.
`The Stage of Love' was composed by the poet Kullianmull, for the amusement of Ladkhan, the son of Ahmed Lodi, the same Ladkhan being in some places spoken of as Ladana Mull, and in others as Ladanaballa. He is supposed to have been a relation or connection of the house of Lodi, which reigned in Hindostan from A.D. 1450-1526. The work would, therefore, have been written in the fifteenth or sixteenth century. It contains ten chapters, and has been translated into English but only six copies were printed for private circulation. This is supposed to be the latest of the Sanscrit works on the subject, and the ideas in it were evidently taken from previous writings of the same nature.
The contents of these works are in themselves a literary curiosity. There are to be found both in Sanscrit poetry and in the Sanscrit drama a certain amount of poetical sentiment and romance, which have, in every country and in every language, thrown an immortal halo round the subject. But here it is treated in a plain, simple, matter of fact sort of way. Men and women are divided into classes and divisions in the same way that Buffon and other writers on natural history have classified and divided the animal world. As Venus was represented by the Greeks to stand forth as the type of the beauty of woman, so the Hindoos describe the Padmini or Lotus woman as the type of most perfect feminine excellence, as follows:
She in whom the following signs and symptoms appear is called a Padmini. Her face is pleasing as the full moon; her body, well clothed with flesh, is soft as the Shiras or mustard flower, her skin is fine, tender and fair as the yellow lotus, never dark coloured. Her eyes are bright and beautiful as the orbs of the fawn, well cut, and with reddish corners. Her bosom is hard, full and high; she has a good neck; her nose is straight and lovely, and three folds or wrinkles cross her middle - about the umbilical region. Her yoni resembles the opening lotus bud, and her love seed (Kama salila) is perfumed like the lily that has newly burst. She walks with swan-like gait, and her voice is low and musical as the note of the Kokila bird, she delights in white raiments, in fine jewels, and in rich dresses. She eats little, sleeps lightly, and being as respectful and religious as she is clever and courteous, she is ever anxious to worship the gods, and to enjoy the conversation of Brahmans. Such, then, is the Padmini or Lotus woman.
Detailed descriptions then follow of the Chitrini or Art woman; the Shankhini or Conch woman, and the Hastini or Elephant woman, their days of enjoyment, their various seats of passion, the manner in which they should be manipulated and treated in sexual intercourse, along with the characteristics of the men and women of the various countries in Hindostan. The details are so numerous, and the subjects so seriously dealt with, and at such length, that neither time nor space will permit of their being given here.
One work in the English language is somewhat similar to these works of the Hindoos. It is called `Kalogynomia: or the Laws of Female Beauty', being the elementary principles of that science, by T. Bell, M.D., with twenty-four plates, and printed in London in 1821. It treats of Beauty, of Love, of Sexual Intercourse, of the Laws regulating that Intercourse, of Monogamy and Polygamy, of Prostitution, of Infidelity, ending with a catalogue raisonnée of the defects of female beauty.
Other works in English also enter into great details of private and domestic life: The Elements of Social Science, or Physical, Sexual and Natural Religion, by a Doctor of Medicine, London, 1880, and Every Woman's Book, by Dr Waters, 1826. To persons interested in the above subjects these works will be found to contain such details as have been seldom before published, and which ought to be thoroughly understood by all philanthropists and benefactors of society.
After a perusal of the Hindoo work, and of the English books above mentioned, the reader will understand the subject, at all events from a materialistic, realistic and practical point of view. If all science is founded more or less on a stratum of facts, there can be no harm in making known to mankind generally certain matters intimately connected with their private, domestic, and social life.
Alas! complete ignorance of them has unfortunately wrecked many a man and many a woman, while a little knowledge of a subject generally ignored by the masses would have enabled numbers of people to have understood many things which they believed to be quite incomprehensible, or which were not thought worthy of their consideration.
Introduction
IT may be interesting to some persons to learn how it came about that Vatsyayana was first brought to light and translated into the English language. It happened thus. While translating with the pundits the `Anunga Runga, or the stage of love', reference was frequently found to be made to one Vatsya. The sage Vatsya was of this opinion, or of that opinion. The sage Vatsya said this, and so on. Naturally questions were asked who the sage was, and the pundits replied that Vatsya was the author of the standard work on love in Sanscrit literature, that no Sanscrit library was complete without his work, and that it was most difficult now to obtain in its entire state. The copy of the manuscript obtained in Bombay was defective, and so the pundits wrote to Benares, Calcutta and Jeypoor for copies of the manuscript from Sanscrit libraries in those places. Copies having been obtained, they were then compared with each other, and with the aid of a Commentary called `Jayamangla' a revised copy of the entire manuscript was prepared, and from this copy the English translation was made. The following is the certificate of the chief pundit:
`The accompanying manuscript is corrected by me after comparing four different copies of the work. I had the assistance of a Commentary called "Jayamangla" for correcting the portion in the first five parts, but found great difficulty in correcting the remaining portion, because, with the exception of one copy thereof which was tolerably correct, all the other copies I had were far too incorrect. However, I took that portion as correct in which the majority of the copies agreed with each other.'
The `Aphorisms on Love' by Vatsyayana contain about one thousand two hundred and fifty slokas or verses, and are divided into parts, parts into chapters, and chapters into paragraphs. The whole consists of seven parts, thirty-six chapters, and sixty-four paragraphs. Hardly anything is known about the author. His real name is supposed to be Mallinaga or Mrillana, Vatsyayana being his family name. At the close of the work this is what he writes about himself:
`After reading and considering the works of Babhravya and other ancient authors, and thinking over the meaning of the rules given by them, this treatise was composed, according to the precepts of the Holy Writ, for the benefit of the world, by Vatsyayana, while leading the life of a religious student at Benares, and wholly engaged in the contemplation of the Deity. This work is not to be used merely as an instrument for satisfying our desires. A person acquainted with the true principles of this science, who preserves his Dharma (virtue or religious merit), his Artha (worldly wealth) and his Kama (pleasure or sensual gratification), and who has regard to the customs of the people, is sure to obtain the mastery over his senses. In short, an intelligent and knowing person attending to Dharma and Artha and also to Kama, without becoming the slave of his passions, will obtain success in everything that he may do.'
It is impossible to fix the exact date either of the life of Vatsyayana or of his work. It is supposed that he must have lived between the first and sixth century of the Christian era, on the following grounds. He mentions that Satakarni Satavahana, a king of Kuntal, killed Malayevati his wife with an instrument called kartari by striking her in the passion of love, and Vatsya quotes this case to warn people of the danger arising from some old customs of striking women when under the influence of this passion. Now this king of Kuntal is believed to have lived and reigned during the first century A.D., and consequently Vatsya must have lived after him. On the other hand, Virahamihira, in the eighteenth chapter of his `Brihatsanhita', treats of the science of love, and appears to have borrowed largely from Vatsyayana on the subject. Now Virahamihira is said to have lived during the sixth century A.D., and as Vatsya must have written his works previously, therefore not earlier than the first century A.D., and not later than the sixth century A.D., must be considered as the approximate date of his existence.
On the text of the `Aphorisms on Love', by Vatsyayana, only two commentaries have been found. One called `Jayamangla' or `Sutrabashya', and the other `Sutra vritti'. The date of the `Jayamangla' is fixed between the tenth and thirteenth century A.D., because while treating of the sixty-four arts an example is taken from the `Kavyaprakasha' which was written about the tenth century A.D. Again, the copy of the commentary procured was evidently a transcript of a manuscript which once had a place in the library of a Chaulukyan king named Vishaladeva, a fact elicited from the following sentence at the end of it.
`Here ends the part relating to the art of love in the commentary on the "Vatsyayana Kama Sutra", a copy from the library of the king of kings, Vishaladeva, who was a powerful hero, as it were a second Arjuna, and head jewel of the Chaulukya family.'
Now it is well known that this king ruled in Guzerat from 1244 to 1262 A.D., and founded a city called Visalnagur. The date, therefore, of the commentary is taken to be not earlier than the tenth and not later than the thirteenth century. The author of it is supposed to be one Yashodhara, the name given him by his preceptor being Indrapada. He seems to have written it during the time of affliction caused by his separation from a clever and shrewd woman, at least that is what lie himself says at the end of each chapter. It is presumed that he called his work after the name of his absent mistress, or the word may have some connection with the meaning of her name.
This commentary was most useful in explaining the true meaning of Vatsyayana, for the commentator appears to have had a considerable knowledge of the times of the older author, and gives in some places very minute information. This cannot be said of the other commentary, called `Sutra vritti', which was written about A.D. 1789, by Narsing Shastri, a pupil of a Sarveshwar Shastri; the latter was a descendant of Bhaskur, and so also was our author, for at the conclusion of every part he calls himself Bhaskur Narsing Shastri. He was induced to write the work by order of the learned Raja Vrijalala, while he was residing in Benares, but as to the merits of this commentary it does not deserve much commendation. In many cases the writer does not appear to have understood the meaning of the original author, and has changed the text in many places to fit in with his own explanations.
A complete translation of the original work now follows. It has been prepared in complete accordance with the text of the manuscript, and is given, without further comments, as made from it.
PART I: CHAPTER I
PREFACE
Salutation to Dharma, Artha and Kama!
IN the beginning, the Lord of Beings created men and women, and in the form of commandments in one hundred thousand chapters laid down rules for regulating their existence with regard to Dharma, 1 Artha, 2 and Kama. 3 Some of these commandments, namely those which treated of Dharma, were separately written by Swayambhu Manu; those that related to Artha were compiled by Brihaspati; and those that referred to Kama were expounded by Nandi, the follower of Mahadeva, in one thousand chapters.
Now these 'Kama Sutra' (Aphorisms on Love), written by Nandi in one thousand chapters, were reproduced by Shvetaketu, the son of Uddvalaka, in an abbreviated form in five hundred chapters, and this work was again similarly reproduced in an abridged form, in one hundred and fifty chapters, by Babhravya, an inheritant of the Punchala (South of Delhi) country. These one hundred and fifty chapters were then put together under seven heads or parts named severally
1. Sadharana (general topics)
2. Samprayogika (embraces, etc.)
3. Kanya Samprayuktaka (union of males and females)
4. Bharyadhikarika (on one's own wife)
5. Paradika (on the wives of other people)
6. Vaisika (on courtesans)
7. Aupamishadika (on the arts of seduction, tonic medicines, etc.)
The sixth part of this last work was separately expounded by Dattaka at the request of the public women of Pataliputra (Patna), and in the same way Charayana explained the first part of it. The remaining parts, viz. the second, third, fourth, fifth, and seventh, were each separately expounded by
Suvarnanabha (second part)
Ghotakamukha (third part)
Gonardiya (fourth part)
Gonikaputra (fifth part)
Kuchumara (seventh part), respectively.
Thus the work being written in parts by different authors was almost unobtainable and, as the parts which were expounded by Dattaka and the others treated only of the particular branches of the subject to which each part related, and moreover as the original work of Babhravya was difficult to be mastered on account of its length, Vatsyayana, therefore, composed his work in a small volume as an abstract of the whole of the works of the above named authors.
PART I: INTRODUCTORY
1. Preface
2. Observations on the three worldly attainments of Virtue, Wealth, and Love
3. On the study of the Sixty-four Arts
4. On the Arrangements of a House, and Household Furniture; and about the Daily Life of a Citizen, his Companions, Amusements, etc.
5. About classes of Women fit and unfit for Congress with the Citizen, and of Friends, and Messengers
PART II: ON SEXUAL UNION
1. Kinds of Union according to Dimensions, Force of Desire, and Time; and on the different kinds of Love
2. Of the Embrace
3. On Kissing
4. On Pressing or Marking with the Nails
5. On Biting, and the ways of Love to be employed with regard to Women of different countries
6. On the various ways of Lying down, and the different kinds of Congress
7. On the various ways of Striking, and of the Sounds appropriate to them
8. About females acting the part of Males
9. On holding the Lingam in t