Vatsayana Kama Sutra Men and Women Characteristics
Ardent young men, do not neglect the preliminaries! Endeavor to satisfy your mistress. Listen to her desires. Some men, carried away by the power of their desire, forget the prelude, only to be surprised when they are pushed away later! Yet it is such a delight to kiss, to caress, to nibble one another… To explore with your hand or your mouth her body, her breasts, her neck, her belly, down to her innermost curves. Fulfilled, the beloved shall return these kisses and caresses wholeheartedly. No part of the beloveds body should be neglected. Her lover shall make it his duty to discover them, to reveal to his mistress all the pleasure she can receive from them.
When Kama is practiced by men of the four castes according to the rules of the Holy Writ (i.e., by lawful marriage) with virgins of their own caste, it then becomes a means of acquiring lawful progeny and good fame, and it is not also opposed to the customs of the world. On the contrary the practice of Kama with women of the higher castes, and with those previously enjoyed by others, even though they be of the same caste, is prohibited. But the practice of Kama with women of the lower castes, with women excommunicated from their own caste, with public women, and with women twice married, is neither enjoined nor prohibited. The object of practicing Kama with such women is pleasure only.
In ancient times darkness ruled. The gods, powerless against it, imagined and ‘created’ Indra. Indra the invincible killed the arch demon Vritra and, by so doing, allowed the organized world to triumph over chaos. Indra is beautiful like the sun. Like the sun, he is radiant. Only a Padmini, a perfect woman with one thousand qualities, can aspire to such a husband. But, as ancient authors claim, there is only one Padmini in ten million women. Still, the others need not despair! Through long and patient practice, any woman can perfect the position of Indrani, her legs tucked up, her feet resting on her thighs. Then she and her husband share a genuine encounter with the divine essence, token of fertility and love.
Indrani draws up both her knees until they nuzzle the curves of her breasts; her feet find her lover’s armpits. Small girls love this posture, but becoming a goddess takes a lot of practice. She cups and lifts her buttocks with her palms, spreads wide her thighs, and digs in her heels besides her hips, while you caress her breasts: this is Utphallaka (The Flower in Bloom).
The Churning of the Cream
Kamadhenu, the celestial cow with the head of a woman, born from the churning of the Sea of Milk, has the gift of making every wish come true. The deserted wife prays to her. O Kamadhenu! She bemoans the happy times when her beloved showered her with caresses. And here is the lover returning! He had a dream, he says. Kamadhenu was before him. She had his beauty’s face, her mouth was trembling, her beautiful eyes glistening with tears. Repentant, he throws himself to her knees. The lover forgives him. He embraces her, crushing her nearly to the point of suffocation. Hugs and kisses on her thighs, hugs and kisses on her breasts. Thanking the celestial cow for opening his eyes, the lover turns his lingam all around inside the delicious yoni. Divine reunion. Churning the cream.
During lovemaking, ten types of blows may be struck with the penis, but of these only Upasripta (Natural), which is instinctive even to untutored cowherds, results in full clitoral stimulation.
It is a gentle forward stroke which may be varied for depth and speed, allowing a subtlety, rhythm and spontaneity which the other nine each lack to some degree.
If you grasp your penis and move it in circles inside her yoni, it is Manthana (Churning). When you strike sharply down into the yoni, it is Hula (the Double-edged Knife).
If, when her hips are raised by a pillow, you strike a rising blow, it is Avamardana (Rubbing). If you hold your penis pressed breathlessly to her womb it is Piditaka (Pressing).
If you withdraw completely and then strike her violently to the womb, it is Nirghata (the Buffet). Continuous pressure on one side of her yoni is Varahaghata (the Boar’s Blow).
If you thrust wildly in every direction, like a bull tossing its horns, it is Vrishaghata (the Bull’s Blow). Quivering in her yoni is Chatakavilasa (Sparrow Sport), which usually heralds orgasm.
The involuntary shuddering of orgasm is called Samputa (the Jewel Case). But no two women make love quite the same way, so orchestrate your rhythms to the moods and colors of each lover’s raga (emotions).
The Mixture of Sesamum Seed with Rice
Lunch-time siesta, exhausting heat. Even the flies are sleeping. Secretly, the engaged couple, shy and charming, meet. Straight kiss, bent kiss, turned kiss, pressed kiss, fighting tongues… They are well-mannered young people who have been taught the art of loving. But wait! Quick to forget the wise lessons, carried away by passion, they tear off, rip off the sweaty silk clothes which stick to their skin. They roll down on the cold, tiled floor like two young dogs. Mouth against mouth, gazing into each other’s eyes, arms, thighs, legs tightly entwined… It is difficult to tell one from the other. The mixture of sesamum seed with rice. Lingam and yoni meet. The engaged couple have celebrated their wedding night prematurely!
If, encircling and trapping her thighs with yours, you grip so hard that she cries out in pain, it is Ratipasha (Love’s Noose), a device most charming to the ladies.
Her limbs, entwined in yours like tendrils of fragrant jasmine creeper, draw taut and slowly relax in the gentle rhythm of linga and yoni: this is Lataveshta (the Clinging Creeper).
She draws her limbs together, clasping her knees tightly to her breasts, her yoni, like an opening bud, offered up for pleasure: this is known as Mukula (the Bud).
A pale moon shines down on the sleeping beauty. Kneeling beside her, the lover wakes her with a kiss on her modest brow. Keeping her eyelids lowered, she smiles. Grasping her rounded hips, the lover slides her onto his knees. The beauty raises her legs, widely spread. Her ankle bracelets ring out joyously. The lover, eager, wants to possess what the beauty reveals to him. The tease shies away, the lover protests. To silence him, the beauty places her plump foot on his mouth. One by one, the lover kisses her pearly nails, nibbles her little toes. The beauty coos. She coos so loudly that she wakes the dove. The bird, alarmed, responds. The beauty laughs. Taking advantage of her distraction, with one ingenious move, the lover slides into the coveted yoni.
Full of desire, saying sweet words, approach her with your body stiff as a pole and drive straight forward to pierce her lotus and join your limbs: experts call it Madandhvaja (The Flag of Cupid).
He is a perfect man, educated, rich and respected by all. Only his wife knows his weakness. Valiant and skillful at all sorts of games, he lacks vigor in those of love. So she gives him potions to drink, milk mixed with sugar, uchchata root, pepper and liquorice. Or rice with sparrow’s eggs. She covers herself with perfumed unguents and oils and, with skillful caresses, awakens the lazy lingam. Erect from her hisses, it is eventually ready to act. Then, like a snake, the beauty turns around, slithers and coils up among the cushions. The husband did not expect this reversal of the situation. He is all excited now. Blindly, his lingam searches for the yoni. It is the coupling of the cobra.
If, sitting facing her, you grasp her ankles and fasten them like a chain behind your neck, and she grips her toes as you make love, it is the delightful Padma (the Lotus).
Sea-woman, her hair soaked with sweat, coils up like seaweed around her lover’s arms. Siren-woman, her teeth have the same lustre as the pearls adorning her neck. He, the fisherman, tries to grasp the pink tongue between her lips, but it flees quickly like a small fish. He holds his breath and dives towards the yoni and its holy glints. A cruel bite draws a cry from him. She does not let her prey go, the moray eel! Octopus-woman, she en laces the fisherman and drags him down to the bottom of the abyss. Joyously, he lets himself drown… Eventually, the beauty surrenders. He then climbs astride her lifted thighs and mounts her, beeping her firmly in position under his knees. In the ocean of pleasures, they are the two united valves of a beautiful shellfish: the conch.
She lies flat on her back, you sit between her parted knees, raise them, hook her feet over your thighs, catch hold of her breasts, and enjoy her: this is Manmathpriya (Dear to Cupid).
The room is perfumed, the flowered bed ready for love, but these two beep their distance, sulking. They are not lovers, they are deceived spouses. The unfaithful wife of one is attracted to the fickle husband of the other. They meet to talk it over. The betrayed wife sheds tears. The deceived husband is duty-bound to console her. How curious — he thought he did not like chubby women, yet this one arouses him endlessly. He wipes her cheeb with a caress. Refusing to be indebted to such a nice man, she gives him a kiss. Rival ling each other in politeness, they cuddle, tickle, embrace. And now, clasping her in his arms, erect like a mast in the middle of the bed, he pounds her and polishes her. Delicious revenge.
Stiff as a pole in the bed’s center, she lies making love, cooing and warbling like a wood pigeon, the jewel of her clitoris well-polished: this is Mausala (the Pestle).
When she lies on her back with her two thighs pressed tightly together and you make love to her, keeping your thighs outside hers, it is Gramya (the Rustic).
The Black Bee
You no longer recognize your sweet love, this perfect and devoted wife. Is it the full moon? Today she resembles an Amazon. You sense that the proud warrior is ready to vanquish you and, offering her your belly like the wolf, you surrender. She mounts you, she is going to tame you. No use trying to resist. Her arrogant breasts, her flat belly, her strong and muscled thighs, her greedy mouth are so many weapons. Yours is here, modest but already up for the fight. The beauty grasps it. Sitting upon you, legs tucked up, she sucks your lingam into her yoni, until you cry out. Then — you did not know of such a hidden talent — she starts spinning like a top around your organ erected as a pivot.
When she takes the man’s role, your lady has the choice of three famous lovemaking techniques:
If she uses the Mare’s Trick, gripping your penis with her yoni’s vice, squeezing and stroking it, holding it inside her for a hundred heart-beats, it is known as Samdamsha (the Tongs).
If, drawing up her feet, she revolves her hips so that your penis circles deep within her yoni, you arching your body to help her, it is Bhramara (the Bee).
If she now swings her hips in wide circles and makes figures-of-eight, swaying upon your body as though she were riding on a seesaw, it is Prenkholita (the Swing).
The reputation of the courtesan of the land of Andra is firmly established. She is said to make love with consummate artistry. It is also said that, unlike the mare, it is she who climbs astride her male. And when the lover is well in hand, tamed, saturated with caresses, she seizes his lingam. Deep inside her yoni, she squeezes it, strangles it: it is the blow of a mare. Men would like to own her. Women, too, and among them good wives who seek to perfect themselves in the art of love. But the courtesan of the land of Andra is not for sale. She is already rich enough. Today she is said not to have a lover. And all her love goes to Babu, her elephant.
When her passion has ebbed, she should rest, bending forward to lay her forehead upon yours without disturbing your yoked bodies: it won’t be long before desire stirs again.
Catching your penis, the lady with dark eyes like upturned lotus petals guides it into her yoni, clings to you and shakes her buttocks: this is Charunarikshita (Lovely Lady in Control).
Enthroned on your penis, she places both hands on the bed and makes love, while you press your two hands to her thudding heart: this is Lilasana (Seat of Sport).
She sits upright upon you, her head thrown back like a rearing mare, bringing her feet together on the bed to one side of your body: this is Hansabandha (the Swan).
The young woman has one foot on your heart and the other on the bed. Bold, saucy women adore this posture, which is known to the world as Upavitika (the Sacred thread).
If, with one of her feet clasped in your hand and the second placed upon your shoulder, your young lady enjoys you, it is Viparitaka (Reversed).
He is a man of taste. In his garden there are two swings, one revolving and one ordinary. He spends many pleasant moments there, conversing with his friends. Sometimes, alone, he switches from one to the other until his head spins. But his favorite swing has neither ropes, nor wood, nor cushions. He finds it with his favorite mistress, a skillful and passionate courtesan. Adorned with pearls and gold, a simple veil of silk hiding her nudity, she stretches out her arms towards him. The night will be long… They revisit each of the sixty-four chapters. And, to finish, the swing. She sits on his lap, her legs raised. With one hand, he holds her, with the other, he caresses her breasts. She swings back and forth, faster and faster, until bliss.
Sitting face to face in bed, her breasts pressed tight against your chest, let each of you lock heels behind the other’s waist, and lean back clasping one another’s wrists.
Now, set the swing gently in motion, your beloved, in pretended fear, clinging to your body with her flawless limbs, cooing and moaning with pleasure: this is Dolita (The Swing).
Splitting the Bamboo
A charming scene: two young peasants singing under the moon. With the same slender figure, the same graceful gait, they look like the male and female forms of one single being. Their fresh voices chase the darkness away. They reach the river, at the spot named ‘the bath of the goddesses’. Undressed in the twinkling of an eye, they dive… Now they lie down in the grass, fearless of snakes. Perched on top of a tree, Garuda, the bird of Vishnu, protects them. With the blessing of the sympathetic god, they soon become experts in the art of loving. With one leg stretched out along his slender body, the young girl puts her other leg on the boy’s shoulder, then she inverses the legs’ position, she alternates them. It is splitting the bamboo. Celestial ballet!
If your lover, seated above you with feet lotus-crossed and her body held erect and still makes love to you, it is known as Yugmapada (the Foot Yoke).
If she strides you, facing your feet, brings both her feet up to your thighs, and works her hips frantically, it is known as Hansa-lila (Swan Sport).
Your lover places one foot on your ankle, lodges her other foot just above your knee, and rides you, swinging and rotating her hips: this is Garuda (Garuda).
If you lie flat on your back with legs stretched out and your lover sits astride you, facing away and grasping your feet, it is called Virsha (the Bull).
Clasping each other’s hands, you lie sprawled like two starfish making love, her breasts stabbing your chest, her thighs stretched out along yours: this is Devabandha (the Coitus of the Gods).
Lying upon you, your beloved moves round like a wheel, pressing hands one after the other on the bed, kissing your body as she circles: experts call this Chakrabandha (the Wheel).
If, by means of some contraption, your lover suspends herself above you, places your linga in her yoni and pulleys herself up and down upon it, it is Utkalita (the Orissan).
The Curving Knot
The friends linger behind. One discusses the matters of love. The master of the house, however, thinks only of his beloved who awaits him. He thinks of the ‘line of jewels’ he left at the bottom of her back. This is what one calls a bite made with all of the teeth. One of the hosts recounts how he practices the curving knot position, which demands skill and suppleness. The master of the house smiles dreamily… Last night his beloved, as clever as a she-monkey, led him into this perilous exercise. His legs remember it still! Each partner puts their arms into the hollow of their fences and pulls their legs towards them. Holding each other’s hands, yoni and lingam are brought closer. Reaching ecstasy in this delicate position is said to be a token of the lovers’ eternal love.
When your wife sits with both knees drawn tight to her body and you mirror this posture, it is known to experts in the art of love as Yugmapada (The Foot Yoke).
Seated erect, the lovely girl folds one leg to her body and stretches the other along the bed, while you mirror her actions: this is Yugmapada (The Feet Yoke).
Sitting erect, grip your lover’s waist and pull her on to you, your loins continuously leaping together with a sound like the flapping of elephants’ ears:
this is Kirtibandha (the Knot of Fame).
The Sporting of a Sparrow
The young widow of a very old husband, she mourns for his tenderness and kindness. The river is Grey. The flowers have lost their fragrance. Why was she stopped from throwing herself onto the pyre? She falls asleep. A tear rolls down her cheek, her sighs causing her lovely breasts to rise. Kama, the god without a body, is moved by this sight. He takes the shape of a handsome prince and lies down upon her. The perfume of jasmine mixes with the young man’s musky odor. Brisk like a sparrow, the god’s lingam goes back and forth continuously inside her yoni. She has never known anything like this with her husband. Her groans accompany the river’s rumbling. The singing of the birds awakens her. Was it only a dream? Who would care! Today the mourning is over. She will go to the temple to make offerings to Kama, the god of all desires.
In Samputa (the Jewel Case) your legs lie along hers caressing their whole length from toes to thighs. Your lover may be below you, or you may both lie on your sides, in which case she should always be on your left.
At last, the lover has returned. He has been away for a long time. The marks his embraces left on his beloveds body have long since faded. He is now intimidated as he faces his mistress. It appears as if these few weeks have transformed the beauty. He has never seen her so radiant. A doubt crosses his mind. Could she have deceived him? As if she had heard his jealous thoughts, the beauty digs her pearly nails into his shoulders. Tiger’s claw, peacock’s foot, leaf of a blue lotus, swollen bite, broken cloud, they use claws and teeth like wildcats. And then the cunning lover slides his hand between the beauty’s thighs, caresses delicately the yoni, and turns the tigress into a purring and cuddly cat.
If, seated face to face, your toes caress the lovely woman’s nipples, her feet press your chest and you make love holding each other’s hands it is Kaurma (The Tortoise).
Seated, the lady raises one foot to point vertically over her head and steadies it with her hands, offering up her yoni for lovemaking: this is Mayura (the Peacock).
If, sitting facing her, you grasp her ankles and fasten them like a chain behind your neck, and she grips her toes as you make love, it is the delightful Padma (the Lotus).
Ardent young men, when you enter your mistress’s yoni with your lingam, beware of spilling. By acting so grossly, you would leave her hungry for more. There are many ways in which a lingam shall behave with a yoni. Study your lover’s reactions, read the look in her eyes. Because of her shyness, an inexperienced woman will not dare to express her desires. When you are in this situation, do not content yourself with merely pushing on. Any donkey can do that. Learn to break through by strikes the upper part of the yoni, then by rubbing the lower part. Try the blow of a bull, the blow of a boar. Then you will see your lover, putting aside all bashfulness, cry out, lose her head and direct the love congress in the growing rhythm of her pleasure.
If long lovemaking exhausts you before your lover has reached her orgasm, you should allow her to roll you over your back and sit astride you, taking initiative.
If the posture gives her deep pleasure, or you enjoy its novelty, she may transpose into it as a matter of course, taking great care, however, not to expel the linga from the temple of love.
Consider: she climbs upon you, the flowers dropping from her tousled hair, her giggles turning to gasps; every time she bends to kiss your lips her nipples pierce your chest.
As her hips begin to churn, her head, flung back, bobs ever faster; she scratches, pummels you with small fists, fastens her teeth in your neck, doing unto you what you’ve often done unto her.
The women of Maharashtra adore every kind ot pleasure. The beautiful wife does not contradict this reputation. And, until dawn, she demands more from her husband. The poor man falls asleep… Never mind, she gives him a few betel leaves to chew, plies him with sweets, with fresh coconut milk. He can relax and she will take care of him. The husband lets himself drift. She rubs his body with a sandalwood unguent. Soon, the massages turn into caresses. The beauty excites his chest. He comes to and she mounts him. He would like to kiss her mouth but the naughty girl shies away, turns around, offering him her back. It is she who decides. She possesses him. Delicious submission.
She lies on her front, grasping her ankles in her own hands and pulling them up behind her: this difficult posture is known to experts as Mallaka (the Wrestler).
She stands on palms and feet; you stand behind her and lift one of her feet to your shoulder, enjoying the lovely girl: this is Traivikrama (the Stride).
Seize her feet and lift them high (like a wheel barrow), drive your penis into her yoni and pleasure her with vigorous strokes: this is Kulisha (the Thunderbolt).
You kneel, as in archery, take her on your lap and bend her forward till her breasts are pressed to her thighs: this is Ekabandha (One Knot).
How can you fail to marvel at the elephant! So much strength combined with so much delicacy. See its trunk: powerful enough to uproot a tree, it can still embrace with grace, touch and skim with subtlety. Women are frightened and surprised by the size of the lingam. Men apply themselves to taming this mythical rival. The imaginative lover, however, does not care about rivals — men, women or beasts! He has no trunk, but it matters not! He embraces his beloved with his arms, lifts her up, turns her around. Inhaling her intoxicating perfumes, his mouth explores her body. His lingam strikes the beauty’s thighs, caresses her yoni. She appreciates his vigour! Today, for his lover’s pleasure, he is Hastica the elephant.
When your mistress lays breasts, arms and forehead to the carpet, raising her buttocks high, and you guide your penis into her yoni, it is Aibha (the Elephant).
You lift her ankles high; she draws up and extends her legs as though she were
crawling through the air: this is Hastika (the Elephant).
Lying on her side, facing away, the fawn-eyed girl offers you her buttocks and your penis penetrates the house of love: this is Nagabandha (the Elephant).
Unlike animals, the man presses his imagination into the service of love. Like a god, he transforms as he pleases, as the whim takes him. In accordance with his desires and those of his beauty, he turns into dog, fox, stag or elephant. In comparison, none have seen a bull mount a cow as men do. The beauty gets on all fours and, in that position, presents her rump which she wiggles suggestively. If she claws the carpet, mews and purrs, it is the congress of the cat. If she bleats and shabes her head violently, it is the assault of the goat. If, with tears in her eyes, she wails, it is the rut of the stag. If she groans, growls, licks her lover’s finders, then it is the union of the dog.
She bends well forward and grips the bedstead, her buttocks raised high; cup your hands to serpents’ hoods and squeeze her jar-shaped breasts together: this is Dhenuka (the Milch Cow).
If you mount her like a dog, gripping her waist, and she twists round to gaze into your face, experts in the art of love say it is Svanaka (the Dog).
If the lady, eager for love, goes on all fours, humping her back like a doe, and you enjoy her from behind, rutting as though you’d lost all human nature, it is Hirana (the Deer).
When, with lotus-feet set well-apart on the ground, she bends, placing a hand upon each thigh, and you take her from the rear, it is Gardabha (the Ass).
If she lies on her stomach and you seize her ankles in one hand, lift them high and make love, tilting her chin back with your other hand, it is Marjara (the Cat).
There are some lovers who despise soft beds and cozy cushions. Their pleasure is heightened by danger or discomfort. Some choose places where their union may be discovered; others practice the most hazardous positions. Others still seek risk and difficulty. Their pleasure room is a garden where they lay themselves open to being seen. The beauty, one foot on her lover’s thigh, her arms hanging from his neck, coos as she lifts herself up his body. She looks like she’s climbing a tree! Now she clasps her beloveds chest between her slender legs. She is now perched on his lingam. While she is moving up and down, held up by her lover’s powerful arms, he whispers suggestive words in her ear.
She stands against the wall, lotus-hands on hips, long, lovely fingers reaching to her navel. Cup her foot in your palm and let your free hand caress your angel’s limbs.
Put your arm around her neck and enjoy her as she leans there at her ease.
Vatsyayana and others who knew the art of love in its great days called this posture Tala (the Palm).
If you lean back to a wall and your lover, clinging to your neck, places both her feet in your palms and thus makes love, this is Dvitala (Two Palms).
If you lift your lover by passing your elbows under her knees and gripping her buttocks while she hangs fearfully from your neck, it is Janukurpara (the Knee Elbow).
Your wife grips your neck and locks her legs around your waist:this is Kirti (Fame) – a posture not described in Kama Sutra or Ratirahasya . Never try it with heavy girls.
When he married her, she was a very young girl, almost a child. Now she is an accomplished woman, blessed with all the talents. They like to play and surprise each other. Today he finds her lying on the bed in the pleasure room. Her face is hidden by her splayed black hair. Slightly worried, he approaches. The wife has heard him and, with a swift move, she raises her rump. The fabrics fall away, revealing her superb buttocks. Without delay, savagely, like a stag in a rut, the husband mounts his wife. Suddenly, filled with scruples, he breaks off. Then the wife, with a move of her hip, encourages him and, in a dancing rhythm, she moves along with the back and forth motion of her man, who wails with pleasure.
And now for the love postures with which sculptors adorn our temple walls. When a couple make love standing, or leaning against a wall or a pillar, it is called Sthita (Steadied).
When the woman sits in her lover’s cradled hands, her arms around his neck, thighs gripping his waist, her feet pushing back and forth against a wall, it is Avalambitaka (Suspended).
When, catching and crushing your lover in the cage of your arms, you force her knees apart with yours and sink slowly into her, it is Dadhyayataka (Churning Curds).
When she leans against a wall, planting her feet as widely apart as possible, and you enter the cave between her thighs, eager for lovemaking, it is Sammukha (Face-to-face).
If, as you lean against the wall, your lady twines her thighs around yours, locks her feet to your knees, and clasps your neck, making love very passionately, it is Dola (the Swing).
The beautiful stranger has asked to visit the temple. And here she is, red with confusion, facing the friezes. On the walls all around her, human and divine creatures, with serene faces, make love in every fashion. Her guide, a handsome doe-eyed boy, shows her a small woman kissing the lingam of a man with the face of Buddha. She smiles dreamily. Taking her by the hand, the guide leads her into the temple’s mazes. Here no one will disturb them. In an instant, they are as naked as the stone lovers. The tiles worn away by time do not make a welcoming bed! One of the beauty’s legs rests on the young man’s hip, he is going to love her while standing. She discovers unsuspected delights in this balanced love position.
When your lover draws up one leg, allowing the heel to nestle just behind your knee, and you make love, embracing her forcefully, it is Traivikrama (the Stride).
If you catch one of her knees firmly in your hand and stand making love with her
while her hands explore and caress your body, it is Tripadam (the Tripod).
If she raises one leg and you catch hold of her little foot, caressing her breasts
and telling her how much you love her, it is Ekapada (One Foot).
Her foot pressed to your heart, your arms encircling and supporting her, lean back against the wall and enjoy the lovely girl: this is Veshta (the Encircling).
The Lovemaking of the Crow
No place is as poorly guarded as a harem. And no women more accessible than the king’s wives. A determined young man only has to choose how to achieve his ends. Hidden inside a barrel or disguised as a maidservant, he will easily deceive the casual sentinels and the overworked stewards. He can also try to make himself invisible by using an appropriate potion. But the result is uncertain. The king’s wives like to play games with strangers that are forbidden with their husband. The young man and the noble lady are lying against each other, head to tail. He explores her yoni while her pretty mouth gobbles up his lingam greedily. It is Kalila the crow, the posture of slaves and maidservants, that queens are so fond of.
When your lover catches your penis in her hand and, shaping her lips to an ‘O’, lays them lightly to its tip, moving her head in tiny circles, this first step is called Nimitta (Touching).
Next, grasping its head in her hand, she clamps her lips tightly about the shaft,
first on one side then the other, taking great care that her teeth don’t hurt you:
this is Parshvatoddashta (Biting at the Sides).
Now she takes the head of your penis gently between her lips, by turns pressing, kissing it tenderly and pulling at its soft skin: this is Bahiha-samdansha (the Outer Pincers).
If next she allows the head to slide completely into her mouth and presses the shaft firmly between her lips, holding a moment before pulling away, it is Antaha-samdansha (the Inner Pincers).
When she senses that your orgasm is imminent she swallows up the whole penis,
sucking and working upon it with lips and tongue until you spend: this is Sangara (Swallowed Whole).
With delicate fingertips, pinch the arched lips of her house of love very very slowly together, and kiss them as though you kissed her lower lip: this is Adhara-sphuritam (the Quivering Kiss).
Now spread, indeed cleave asunder, that archway with your nose and let your tongue gently probe her yoni, with your nose, lips and chin slowly circling: it becomes Jihva-bhramanaka (the Circling Tongue).
Let your tongue rest for a moment in the archway to the flower-bowed Lord’s temple before entering to worship vigorously, causing her seed to flow: this is Jihva-mardita (the Tongue Massage).
Next, fasten your lips to hers and take deep kisses from this lovely one, your beloved, nibbling at her and sucking hard at her clitoris: this is called Chushita (Sucked).
Place your darling on a couch, set her feet to your shoulders, clasp her waist,
suck hard and let your tongue stir her overflowing love-temple: this is called Bahuchushita (Sucked Hard).
If the pair of you lie side by side, facing opposite ways, and kiss each other’s secret parts using the ten techniques described above, it is known as Kakila (the Crow).
Sometimes Kama, absent-minded, throws his arrow haphazardly. Thus one sees strange couples assembling. A man and a woman who should not have been brought together. They attract criticism, mockery. And yet, ‘badly-matched’ love defies time! This hare-man, thin and graceful, adores his elephant wife, as powerful as a giant. Their tastes, their preoccupations, life their bodies, are discordant. But they adore each other! And, in the games of love, their harmony is perfect. The hare-man knows all the subtle caresses that arouse his wife. Making use of Apadravyas, he increases the size of his frail lingam. There are all kinds of them in the pleasure room: gold armband, precious wood tube, ivory bracelet. They choose them according to how their lovemaking progresses.
First rub your penis with wasp stings and massage it with sweet oil. When it swells, let it dangle for ten nights through a hole in your bed, going to sleep each night on your stomach.
After this period use a cool ointment to remove the pain and swelling. By this method men… of insatiable sexual appetite, manage to keep their penises enlarged throughout their lives.
By applying an ointment made from crushed barleria leaves to her yoni, the elephant woman can spend at least one night discovering the delights of being a doe.
Likewise the doe can use honey mixed with powdered roots of lotus, madder, sal (tree of aromatic gum), the blue lotus and the mongoose plant to accommodate a stallion for one night.
The Unified Lovers
He expected to find her alone, but she is with her foster sister. He is not the kind of man to shirk his duty, but still! The naughty girls hardly allow him time to think. Before he knows what has hit him, he is in their arms. He must recognize them with his eyes closed. Which one kisses him? Which one scratches him? Whose yoni is this? He loses every time. His hands and his mouth are no match for the forfeits they impose. And now here are the two beauties, hip against hip, their legs raised, offering their yonis. Clasping them both in his arms, the seasoned lover switches from one to the other and, with all the valiance of his lingam, fills them with joy. It is the united congress.
The object of the enjoyment of women is twofold, viz., pleasure and progeny. Any woman who can be enjoyed without sin for the purpose of accomplishing either the one or the other of these two objects is a Nayika.
Nayikas are of three kinds, viz., maids, women twice married, and public women. Gonikaputra has expressed an opinion that there is a fourth kind of Nayika, viz., a woman who is resorted to on some special occasion even though she be previously married to another. These special occasions are when a man thinks one of the following:
This woman is self-willed, and has been previously enjoyed by many others besides myself. I may, therefore, safely resort to her as to a public woman though she belongs to a higher caste than mine, and in so doing I shall not be violating the ordinances of Dharma.
This is a twice-married woman and has been enjoyed by others before me, there is, therefore, no objection to my resorting to her.
This woman has gained the heart of her great and powerful husband, and exercises a mastery over him, who is a friend of my enemy; if, therefore, she becomes united with me, she will cause her husband to abandon my enemy.
This woman will turn the mind of her husband, who is very powerful, in my favor, he being at present disaffected towards me, and intent on doing me some harm.
By making this woman my friend I shall gain the object of some friend of mine, or shall be able to effect the ruin of some enemy, or shall accomplish some other difficult purpose.
By being united with this woman, I shall kill her husband, and so obtain his vast riches which I covet. The union of this woman with me is not attended with any danger, and will bring me wealth, of which, on account of my poverty and inability to support myself, I am very much in need. I shall, therefore, obtain her vast riches in this way without any difficulty.
This woman loves me ardently, and knows all my weak points, if therefore, I am unwilling to be united with her, she will make my faults public, and thus tarnish my character and reputation. Or she will bring some gross accusation against me, of which it may be hard to clear myself, and I shall be ruined. Or perhaps she will detach from me her husband, who is powerful, and yet under her control, and will unite him to my enemy, or will herself join the latter.
The husband of this woman has violated the chastity of my wife, I shall therefore return that injury by seducing his wives. By the help of this woman I shall kill an enemy of the king, who has taken shelter with her, and whom I am ordered by the king to destroy. The woman whom I love is under the control of this woman. I shall, through the influence of the latter, be able to get at the former.
This woman will bring to me a maid, who possesses wealth and beauty, but who is hard to get at, and under the control of another. My enemy is a friend of this woman’s husband, I shall therefore cause her to join him, and will thus create an enmity between her husband and him.
For these and similar other reasons the wives of other men may be resorted to, but it must be distinctly understood that is only allowed for special reasons, and not for mere carnal desire.
Charayana thinks that under these circumstances there is also a fifth kind of Nayika, viz., a woman who is kept by a minister, and who repairs to him occasionally; or a widow who accomplishes the purpose of a man with the person to whom she resorts.
Suvarnanabha adds that a woman who passes the life of an ascetic and in the condition of a widow may be considered as a sixth kind of Nayika.
Ghotakamukha says that the daughter of a public woman, and a female servant, who are still virgins, for a seventh kind of Nayika.
Gonardiya puts forth his doctrine that any woman born of good family, after she has come of age, is an eighth kind of Nayika.
But these four latter kinds of Nayikas do not differ much from the first four kinds of them, as there is no separate object in resorting to them. Therefore Vatsyayana is of opinion that there are only four kinds of Nayikas, i.e., the maid, the twice married woman, the public woman, and the woman resorted to for a special purpose.