The Kama Sutra of Vatsayayana by Sir Richard Francis Burton (philippa perry book TXT) 📕

The Kama Sutra of Vatsayayana

Sir Richard Burton, translator (1883)

Formatted at sacred-texts.com, July 2003. This text is in the public domain. These files may be used for any non-commercial purpose provided this notice of attribution is left intact.

* Part I: Introductory

* Chapter I. Preface

* Chapter II. Observations on the Three Worldly Attainments of Virtue, Wealth, and Love

* Chapter III. On the Study of the Sixty-Four Arts

* Chapter IV. On the Arrangements of a House, and Household Furniture; and About the Daily Life of a Citizen, His Companions, Amusements, Etc.

* Chapter V. About Classes of Women Fit and Unfit for Congress with the Citizen, and of Friends, and Messengers

* Part II: On Sexual Union

* Chapter I. Kinds of Union According to Dimensions, Force of Desire, and Time; and on the Different Kinds of Love

* Chapter II. Of the Embrace

* Chapter III. On Kissing

* Chapter IV. On Pressing or Marking with the Nails

* Chapter V. On Biting, and the Ways of Love to be Employed with Regard to Women of Different Countries

* Chapter VI. On the Various Ways of Lying Down, and the Different Kinds of Congress

* Chapter VII. On the Various Ways of Striking, and of The Sounds Appropriate to Them

* Chapter VIII. About Females Acting the Part of Males

* Chapter IX. On Holding the Lingam in the Mouth

* Chapter X. How to Begin and How to End the Congress. Different Kinds of Congress, and Love Quarrels

* Part III: About the Acquisition of a Wife

* Chapter I. Observations on Betrothal and Marriage

* Chapter II. About Creating Confidence In the Girl

* Chapter III. Courtship, and the Manifestation of the Feelings by Outward Signs and Deeds

* Chapter IV. On Things to be Done Only by the Man, and the Acquisition of the Girl Thereby. Also What is to be Done by a Girl to Gain Over a Man and Subject Him to Her

* Chapter V. On the Different Forms of Marriage

* Part IV: About a Wife

* Chapter I. On the Manner of Living of a Virtuous Woman, and of Her Behaviour During the Absence of Her Husband

* Chapter II. On the Conduct of the Eldest Wife Towards the Other Wives of her Husband, and of the Younger Wife Towards the Elder Ones…

* Part V: About the Wives of Other People

* Chapter I. On the Characteristics of Men And Women…

* Chapter II. About Making Acquaintance with the Woman, and of the Efforts to Gain Her Over

* Chapter III. Examination of the State of a Woman’s Mind

* Chapter IV. The Business of a Go-Between

* Chapter V. On the Love of Persons in Authority with the Wives of Other People

* Chapter VI. About the Women of the Royal Harem, and of the Keeping of One’s Own Wife

* Part VI: About Courtesans

Introductory Remarks

* Chapter I. Of the Causes of a Courtesan Resorting to Men…

* Chapter II. Of a Courtesan Living With a Man as His Wife

* Chapter III. Of the Means of getting Money…

* Chapter IV. About a Reunion with a Former Lover

* Chapter V. Of Different Kinds of Gain

* Chapter VI. Of Gains and Losses, Attendant Gains and Losses, and Doubts; and Lastly, the Different Kinds of Courtesans

* Part VII: On The Means of Attracting Others to One’s Self

* Chapter I. On Personal Adornment, Subjugating the Hearts of Others, and of Tonic Medicines

* Chapter II. Of The Means of Exciting Desire, and of the Ways of Enlarging the Lingam. Miscellaneous Experiments and Receipts

* Concluding Remarks

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