Kamashastra and Classical Sanskrit literature (study)
by Vishwanath K. Hampiholi | 1986 | 78,921 words
This essay in English studies the influence of Kamashastra on classical Sanskrit literature by exploring the significance of Kama (sexual desire) within Indian philosophy and literature. It is highlighted tat ancient Indians valued both spiritual and worldly aspects of life. The treatise "Kamasutra" by Vatsyayana is highlighted as a pione...
Concluding Remarks
It is shown in the previous chapters that the Kamasutra and other erotic texts have impressed many poets of Sanskrit literature to a great extent. The Kamasutra, which is the earliest available text on erotics, was composed by Mallanaga Vatsyayana in 4 th or 3 rd century B.C.1 When we read the literature minutely we come to know that the influence of the Kamasutra on poets has started from the first century A. D. only. Asvaghosa, the earliest known writer, describes love in the light of the Kamasutra only. His Saundarananda, Buddha-carita and Sariputra-prakarana, which are composed to teach Buddhism, are full of Srigara element. In Saundarananda, he describes the love of a young couple (IV canto) in an ornate style according to the words of Vatsyayana. He describes woman as the source of all evil, as the ascetic in him overpowers the poet (VIII canto). 1. M.Krishnamachariar, History of Classical Sanskrit Literature, (Delhi, 1974), p.888.
376 Bhasa, who is the author of 14 dramas, and who flourished round about first century A. D., rarely depicts love. Most of his dramas are based on Epics. Hence we see religious atmosphere in his dramas. His Svapnavasavadattam, which is based on the Brhatkatha, depicts srgara a little. The hero Udayana is depicted as a Dhiralalita type of hero, who is known as erotic hero. Srigara not depicted in this drama in detail as Bhasa had a different attitude. is Asvaghosa as well as Bhasa were religious poets. One is the follower of Buddhism and the other is an ardent lover of Hinduism. Asvaghosa wrote his works to preach the teachings of Buddha and to spread Buddhism. Bhasa, who had faith in Varnasramas, expressed the same in indirect manner through his works. Therefore we see in the works of both poets more philosophical and religious element and less Srigara. - Sudraka, who flourished at the end of the first century A. D., changed the goal of literature in another direction. His well-known drama, Mrcchakatika, depicts the importance of love in life. Sudraka portraits a heroine in his drama according to the words of Kamasutra. 2 2. Supra. II Chapter, Fn. 57, p.55.
377 The long description of Vasantasena's house3 3 is based on the Kamasutra only, which gives a graphic picture of a Nagaraka's house. According to the directions of Vaisyadhikarana, the dramatist pictures Vasantasena as a graceful, beautiful and dignified heroine. Vatsyayana, who has given a respectable place to a harlot in society, has become a guide to Sudraka, while sketching the character of Vasantasena. 5 The qualities of Carudatta 4 the hero of the drama, are described by Vita," who finds in Carudatta all characteristics of a hero stated by vatsyayana. Thus Sudraka creates the characters of hero and heroine on the lines of the Kamasutra. The depiction of love is more clear in this drama than in the previous works. Asvaghosa thought that love is an obstruction to spiritual life or to the highest goal of life. But Sudraka differentiates love from lust. pictures the love in Carudatta and lust in Sakara. He shows that love is mutual, gentle and emotional while lust is selfish, brutish and physical. Hence Vasantasena states- "It is merit indeed that is the cause of love and not force. 46 He 3. IV act, Mrcchakatika and Fn. 35, p.47. 4. Supra II chapter, Fn.110, p.73. 5. Supra II Chapter, Fn.108, p.71. 6. Supra VII Chapter, Fn.45, p.360.
After Sudraka, the erotics in literature started blooming in its fulness. The study of erotic science became essential for the poets. The classification of heroes and heroines, the description of their qualities, the progress of their love and the means of their union are all described according to the tenets of Vatsyayana. Kalidasa was the first poet, who shows the influerce of Vatsyayana on him, clearly through his works. Kalidasa, who was renowned as Srigarakavi, takes the help of Kamasutra, to depict erotic situations in his works. The descriptions of Malavika,7 Parvatl,8 Yaksin clearly show that they are depicted as the Lotus type of lady, who bears the palm of ideal Irdian beauty. Further the depiction of Parvati as Mugdha, -12 30 -11 Madhya and Pragalbha is according to the words of erotic texts. The poet, in Mechaduta, describes the 13 beauty of the house of the Yaksa in many verses, as 7. Supra III Chapter, Fn.37, p.99. 8. Supra III Chapter, Fn.27-36, p.98. 9. Supra III Chapter, Fn.38, p.99. 10. Supra II Chapter, Fn.66, p.57. 11. Supra II Chapter, Fn.73, p.59. 12. Supra II Chapter, Fn.76, p.60. 13. Supra II Chapter, Fn.37-40, p.48. 378
379 if he is going to draw the ideal house of Nagaraka narrated by the Kamasutra. 14 Kalidasa lavishes his knowledge of Kamasastra while he describes the love-scene of his heroes and heroines. 15 16 According to Vatsyayana women like flowers, hence they should be treated delicately. Kalidasa's Dusyanta behaves in the same manner. He treats Sakuntala delicately and proceeds gradually to win her mind. Siva also tackles Parvati very moderately during the first night. Kalidasa explains this idea of treating woman tenderly in clear words in the Raghuvansa. 17 The Kamasutra describes the behaviour of a virgin before her lover in detail. 18 All those characteristics are depicted in the Sakuntala by Kalidasa. 19 The poet uses the same words, which are used by the author of 20 Kamasutra, to express the same idea. The instruction 14. Supra II Chapter, Fn.35, p.47. 15. Supra IV Chapter, Fn. 13, p.242. 16. Supra IV Chapter, Fn.52, p.252. 17. Supra IV Chapter, Fn. 18, p.244. 18. Supra IV Chapter, Fn.27,28,34,35,36,37, p.246,248. 19. Supra IV Chapter, Fn. 33,38,39, p.247,248, 249. 20. Supra IV Chapter, Fn.27, 33, p.246, 247,
380 of Vatsyayana to a virgin not to offer herself in secret- 21 22 love, to express the fear of the guardians and hesitation to reveal her love' are described by Kalidasa in the sakuntala picturesquely. 24 According to Vatsyayana, in the first meeting, a beloved perspires and a lover 25 horripilates. Hence Kalidasa depicts the same during the first meeting of Siva and Parvati and Aja and Indumati. 26 In Abhijnana Sakuntala, the sage Kasyapa advises Sakuntala about the duties of a house wife. All that 27 advice is taken from the Kamasutra of Vatsyayana. 28 There we see that the poet has changed the order of the words of sutras for metrical purpose. The dalliance described in the eighth canto of the Kumarasambhava and in the last of the Raghuvamsa is according to the tenets of Vatsyayana. Kalidasa has used the aphorisms of love suggestively in 21. Supra (IV Chapter, Fn. 127, p.274. 22. Supra IV Chapter, Fn.75, p.258. 23. Supra IV Chapter, Fn. 129,130, 131, p.274. 24. Supra IV Chapter, Fn. 133,134,135,76,77, p.275,259. 25. Supra VI Chapter, Fn.75, p.329. 26. Supra VI Chapter, Fn. 76, 77, p.330. 27. Supra V Chapter, Fn.25, p. 294. 28. Supra V Chapter, Fn.19,20,21, p.293.
his works. No doubt, he has studied the erotic science and displayed it in appropriate situations. 381 C Kumaradasa, who was a worthy compeer of Kalidasa, The eighth canto of followed him in every description. the Janakiharana, in which the poet has described the honey-moon of Rama and siita, is a reflection of the eighth canto of Kumarasambhava. The poet, Kumaradasa has exhibited his knowledge of erotic science, like Kalidasa, according to the flow of story. According to the instruction of Vatsyayana Rama takes away sita 29 30 to a lonely place to create confidence in her mind. sita, who was embraced by Rama shows her bashfulness 31 when her lover expresses his desire, as if she was 32 obeying the tenets of Vatsyayana. Further in sex-sport she expresses her weakness by uttering the words- "I am 33 unable; leave me" etc. which are mentioned by the 34 Kamasutra. Kumaradasa has taken a bolder step in 29. Supra IV Chapter, Fn.13, p.242. 30. Supra IV Chapter, Fn.16, p. 243. 31. Supra IV Chapter, Fn.31, p.247. 32. Supra IV Chapter, Fn. 23, 24, p.245. 33. Supra III Chapter, Fn.57, p. 197. 34. Supra III Chapter, Fn. 36, p. 191.
382 exhibiting the knowledge of erotic science than Kalidasa. ༣ 35 After Kalidasa and Kumaradasa, the style of poetry became more bombastic and artificial. Most of the poets, who had taken the shelter of the king's court, wrote the Kavyas to display their knowledge of arts and sciences to attract not only the mind of the king but also to earn a good name among scholars. Hence the poets are forced to learn all the branches of arts and sciences including the Kamasastra. Therefore M. Winternitz states- "The study of Kamasastra was adopted as an exercise for the ornate poet, and the manuals of poetics contain several sections that cover the subject matter of Kamasastra. We have also seen in so many works the extent to which ornate posts attached importance to parading their knowledge of the science of love in their poetical compositions." In the ornate poetry age, the exhibition of scholarship was started by Bharavi. Bharavi, who flourished in the beginning of the 6 th century A.D. shows his acquaintance with all the sciences including erotic science in his master-piece, Kiratarjunlya. 35. A History of Indian Literature, Vol. III, Part-II, Delhi, p.623.
383 His work, which has eighteen cantos, describes the fight between Arjuna and Lord Siva and the attainment of Pasupatastra. The poet has tried to display his deep knowledge of erotic science through this simple story. He imagines many situations to fulfil his desire. Hence the eighth and ninth cantos of this kavya are full of erotic sentiment; that eros is depicted according to the texts of erotic science. 36 37 Bharavi describes the 38 39 ideas of embrace, kiss, congress, the signs of enjoyment and satisfaction of a woman' and gotra skhalana 41 according to the Kamasutra. 42 According to the instructions of Vatsyayana, Bharavi sketches many beloveds, who manifest their love towards their lovers by many gestures. 43 Further he describes, in detail the ten stages of love-lorn condition of a lover or a beloved in the tenth canto according to the words of erotic science. 40 36. Supra III Chapter, Fn.13, p.123; 36, p.130; 44, p.132. 37. Supra III Chapter, Fn. 12, p. 137. 38. Supra III Chapter, Fn.11, p.178. 39. Supra III Chapter, Fn.4, p. 183; Fn. 43, p.193. 40. Supra III Chapter, Fn. 15, p.219. 41. Supra III Chapter, Fn. 12, p.218. 42. Supra IV Chapter, Fn.81,82,83, p.260. 43. Supra IV Chapter, Fn.93, p.263.
384 After Bharavi, Sanskrit poetry lost its naturalness, beauty, clarity and suggestiveness of sense and became more artificial with epithets, fantastic similies, elaborate figures of speech, alliterations, prying expressions, etc. This ornate age gave the freedom to the poet to exhibit his scholarship, deep knowledge of various sciences and command over the language. Hence the style of description became more important than what was described. Therefore Magha, who flourished in the seventh century A. D. exposed his familarity with various branches of knowledge including erotic science. Sisupalavadha of Magha, which contains twenty cantos, is based on the story of Sisupala, the wicked king of Cedi and his death at the hands of Krsna. Though the vira is the main sentiment in this kavya, the poet has not neglected srigara and it is depicted in five cantos. In these cantos, Magha freely draws upon the Kamasutra, for a detailed description of the effects of love on lovers and their amorous activities. The second adhikarana, which deals with external and internal coition, has become more useful to Magha to depict ringararasa. Embrace, which is an indication of mutual love, is described by the poet ever and anon.
385 The poet has described the embrace scene having studied 44 Kamasutra. Hence he depicts Apaviddhaka, Ud-dhrstaka, and Vrksadhirudha 46 type of embraces which are defined by Vatsyayana. Kiss, which is the key of love is described by the poet on lips (VII.44), eyes (X.54) and on cheeks (VII.21), which are the places mentioned by Vatsyayana. Further the poet describes 'nominal kiss or Nimitaka' which is a type of kiss narrated by Vatsyayana. The description of nail-prints, which are signs 47 of intense passion, is seen in this kavya many times. The poet pictures the nail-prints on the limbs of the 48 49 beloveds, which are allowed by the Kamasutra. Magha refers to many types of moanings of ladies, which are 50 due to their weakness, tenderness and bashfulness. In this description he says- "The ladies made the sounds of sitkara, bhanita, and uttered the words expressive of compassion and sufficiency as if they are following the 45 44. Supra III Chapter, Fn. 12, p.122. 45. Supra III Chapter, Fn. 20, p. 125. 46. Supra III Chapter, Fn.27, p. 127. 47. Supra III Chapter, Fn. 30, p.141. 48. Supra III Chapter, Fn.6,7, p.148; 18, p.151; 24,p.152. 49. Supra III Chapter, Fn.2, p. 147. 50. Supra III Chapter, Fn. 42, p.193; 49.p.194; 53,p.196.
386 tenets of Kamasutra. 51 The characteristics of enjoyment and satisfaction of a woman are described picturesquely 52 by the poet. The whole Kanya Visrambhana chapter of Kanyasamprayuktakadhikarana is illustrated by the poet. He describes the nature and behaviour of a girl, when she faces her lover for the first time thus- "The girl, who was horipilated by the touch of her lover, did not 53 speak anything, though she wanted to speak to him. When she was embraced by her lover again and again, 55 she allowed her lover to squeeze her breasts. Thus having created confidence in the mind of the beloved, 56 the lover tries to touch her navel and the waist, When the hands come near to the knot of her garment, the beloved stopped the hands there only with bashfulness. 54 57 51. Supra III Chapter, Fn.54, p. 196. 52. Supra III Chapter, Fn.53, p. 196. 53. samkathecchura bhidhatumanisa sammukhi na ca babhuva didrksuh | 1 sparsarsanana dayitasya natabharangasanga capalapi cakampe || sisu . 10.41. 54. Supra III Chapter, Fn.21, p.168. 55. Supra III Chapter, Fn. 19, p. 187. 56. amrsabhirabhito valivicirlolama navitatamgulihastaih | subhavamanubhavat pratipede mustimeyamiti madhyamabhistaih | sisu . 10.59. 57. prapya nabhinadamajjanamasu prasthitam nivasanagrahanaya | aupani vikamarundha kilastri vallabhasya karamatmakarabhyam || sisu . 10.60.
387 Thus the above description clearly shows the influence of Kamasutra on Magha. Further the poet depicts beautifully the outward opposition of the ladies with inner 1 consent which is one of the characteristics of ladies 58 in love. Magha, while describing the sunset, takes the idea of Vatsyayana who says that a harlot likes a rich man and not a poor man. In this way we see that Magha was more influenced by Kamasutra than Bharavi. Bharavi refers to the Kamasutra but Magha illustrates the Kamasutra. Srigarasataka of Bhartrhari is sententious poetry covering lofty ideas for the guidance of mankind. Bhartrhari has showed the importance of kama in life. At the beginning of his Sataka he bows down to the God 59 of Love, like Vatsyayana, who salutes kama at the commencement of his work. He has described the erotic 62 60 61 situations like kiss, embrace, striking, coition, 58. Supra VII Chapter, Fn.72, p.371. 59. Supra II Chapter, Fn.4, p.33. 60. Supra III Chapter, Fn. 13, p.205. 61. adarsane darsanamatra kama drstva parisvamgasukalola | 63 alimgitayam punarayataksyamasasmahe vigrahayorabhadam || su . trisati . 22. 62° madhutisthati vaci yositam hrdi halahalameva kevalam | ataeva nipiyate dharo hrdayam mustibhireva taiyate || tatraiva . 51. 63. su . trisati . 2.2430.
389 65 behaviour of a girl at the first union and sitkara. 64 66 Purusayita. The whole Srigarasataka depicts the influence of Kamasutra on the poet clearly. Most of his stanzas are the examples for the aphorisms of Vatsyayana. Bhartrhari was, probably, the first man in Sanskrit literature, who composed independent work depending only on erotic sentiment. He has depicted the various characteristics of ladies according to the Kamasutra. Bana, the notable author of prose romance, displays his knowledge of erotic science in his works minutely. 67 According to the suggestion of Vatsyayana Bana sketches Rajasri, the sister of king Harsa, who learns all the arts. His Candrapida becomes proficient in many arts which 70 69 are stated by Vatsyayan. The description of bed-room 71 in Harsa-carita, and the holy place of Goddess Parvati 68 64. Ibid., 99. 65. Ibid., 24. 66. Supra III Chapter, Fn. 13, p.205. 67. Supra II Chapter, Fn.21,22, p.38. 68. Supra II Chapter, Fn. 23, p.38. 69. Supra II Chapter, Fn.30, p.43. 70. Supra II Chapter, Fn.29, p.40. 71. Supra II Chapter, Fn.41, p. 48.
389 72 in the Kadambarl remind us of the ideal house of a 73 Nagaraka stated by the Kaamasutra. The description of 74 the behaviour of Mahasveta, having seen Kapinjala, a friend of her lover Pundarika, is narrated according to the behaviour of a kanya described in the third adhikarana. The love-lorn condition of Mahasveta, is described picturesquely, 75 which correlates the ten love-sick 76 stages of a lover. All these facts show that Bana was well-versed in the Kamasutra. But he has not exhibited his knowledge of erotic science to a great extent, because he might have thought that his work may be considered pornography. Harsa, the author of Ratnavali, Priyadarsika and Nagananda, has gone one step further in using erotic science than the previous dramatists. The description of Malayavati as Mugdha, Ratnavall as Lotus lady 77 78 72. Supra II Chapter, Fn.42, p. 49. 73. Supra II Chapter, Fn.35, p.47. 74. Supra IV Chapter, Fn.114, p.270. 75. Supra VI Chapter, Fn.39, p. 318. 76. Supra VI Chapter, Fn.7, p.307. 77. Supra II Chapter, Fn.67, p.58; 71, p.59. 78. Supra III Chapter, Fn.39, p. 100. 1 f
390 79 and Jimutavahana as a hero, shows clearly the scholarship of the dramatist in erotic science. The behaviour 82 of Malayavat 1,80, 80 Ratnaval 181 and Priyadarsika at the 83 first union, is sketched by the poet according to the aphorisms of Love. Susangata, a messenger of sagarika, and Manorama, duti of Aranyaka, have helped their mistress to achieve their goals according to the instructions of Vatsyayana. The poet Harsa refers to some stages of the love-lorn condition in his dramas. All the dramas of this poet are based on Srgara rasa only. Though Nagananda depicts Karuna as the main sentiment, it has sigara in the first three acts. Construction of the plot, the first meeting of the lovers and the behaviour of heroines are all composed to illustrate Vatsyayana's Kamasutra. Harsa has followed Kalidasa not only in dramatic art but also in depicting erotic sentiment. Dasakumaracarita, the master-piece of Dandin, is 79. Supra II Chapter, Fn.110, p.73. 80. Supra IV Chapter, Fn.88, p.262; 105, p.267. 81. Supra IV Chapter, Fn. 44, p.250. 82. Supra IV Chapter, Fn. 104, p.267. 83. Supra VI Chapter, Fn. 32, p.316; 41, p.319.
391 full of erotic sentiment. Dandin has described the dalliance of princes in free words. The love between Rajavahana and Avantisundarl, as well as Upaharavarman and Kalpasundari, is very exciting because of the poet's use of loose words. Hence Dharmendra Kumara Gupta remarks- "It is generally complained that the writer very often condescends to indecency of situation and indelicacy of expression in his love pictures which are at times highly ,,84 The amorous sports of princes have been described with utter frankness in glaring bold language with the knowledge of Kamasutra. The description of the bedroom of Kalpasundar 185 resembles Vatsyayana's words. sensous. 86 Dandin has followed Vatsyayana, who instructs to marry 87 that girl to whom one becomes attached, while describing the love between Puspodbhava and Balacandrika. 89 The poet sketches according to the Kamasutra the qualities of a girl, who was seen by Saktikumara. The behaviour of Kandukavati, having seen Mitragupta, 90 91 is 84. A Critical Study of Dandin and His Works, (Delhi, 1970), p.333. 85. Supra II Chapter, Fn.43, p.49. 86. Supra II Chapter, Fn.35, p.47. 87. Supra IV Chapter, Fn.6, p.239. 88. Supra IV Chapter, Fn.7, p.239. 89. Supra IV Chapter, Fn.3, p.236. 90. Supra IV Chapter, Fn.4, p.237. 91. Supra IV Chapter, Fn.100, p.265.
392 92 depicted in the light of erotic text only. The difficult task of Kalpasundari's seduction has been accomplished by the introduction of Puskarika, the nurse's daughter, who is serving in the royal harem, by Upaharavarman33 94 Though according to the dictates of the Kamasutra. adultery is prohibited by erotic writers, Vatsyayana gives some special occasions for adultery from which Upaharavarman seeks an excuse to seduce Kalpasundari. Entering the royal harem in female dress is depicted by 96 95 Dandin. The mother of Kamamanjari narrates in detail 97 the duties of the harlot, which are stated by the Kamasutra. In all the above contexts, the poet, no doubt, has described the erotic situations in glaring bold language. He has not hesitated to show his knowledge of the Kamasastra. After the age of Kalidasa and Kumaradasa, the use of erotic science in literature became a fashion to the poets. 92. Supra CV Chapter, Fn.94-97, p.263. 93. Supra VI Chapter, Fn.87, p.334. 84 94. Supra VI Chapter, Fn.87, p.332. 95. Supra VI Chapter, Fn.5, p. 306. 96. Supra VI Chapter, Fn.103, p.341. 97. Supra VII Chapter, Fn.32, p.355.
393 Therefore, being influenced by Vatsyayana, the poets described not only the dalliance of heroes and heroines, but also water-sport, plucking the flowers, drinking parties etc. which are subsidiary arts narrated by the Kamasutra. Bharavi and Magha described these scenes in whole cantos. Thus the influence of Kamasastra spread in poetry. In the same way the prose literature started to take the help of Kamasutra when it felt necessary. Hence we see the influence on Bana, as he used it in some contexts only wherever it was necessary. But Dandin lavishes his deep knowledge of erotic science in his works, though it seems indelicacy. In the same period Dandin, in his Kavyadarsa, while giving the characteristics of a Mahakavya, mentions the description of watersport drinking wine etc. as an important part of Mahakavya. Therefore the literature, written after 9 th century, shows clearly this influence. The Amarusataka of Amaruka, which is also ascribed to the great monk Sankara is a unique sataka. Though it is full of erotic sentiment, it differs from the srigaraSataka of Bhartrhari. A. B. Keith remarks thus- "The Sataka is essentially a collection of pictures of love and it differs from the work of Bhartrhari in that, while Bhartrhari deals rather with general aspects of love and
39% women as factors in life; Amaru points the relation of lovers and takes no thoughts of other aspects of love. 98 The poet Madhava, in his Sankara-digvijaya, says "Having very carefully studied the Kamasutras of vatsyayana and the commentary thereon, Sankara, while dwelling in the body of the king composed a novel treatise on the art of ..99 love. These words clearly show the influence of Kamasutras on this Sataka. The poet Amaruka pictures Abhisarika, who is one of 100 101 the Astanayikas, Description of Ragoddipana kiss, 102 103 nail-prints, purusayita and pada-patana 104 show clearly the influence of erotic science on the poet. He becomes one with Vatsyayana while he describes that the 105 women are like flowers. Further the poet describes a scene in which a lover kisses his beloved under some 98. Sanskrit Literature, p.183. 99. vatsyayana prodita satrajatam tadiyabhasyam ca vilokya samyak | svayam vyapattabhinavarthagarbha nibandhamekam nrpavesadhari || srimat . 10-18. 100. Supra II Chapter, Fn.102, p.69. 101. Supra III Chapter, Fn.36, p.143; 37, p.144. 102. Supra III Chapter, Fn.37, p.166. 103. Supra III Chapter, Fn.11, p.205. 104. Supra III Chapter, Fn.28, p.223. 105. Supra IV Chapter, Fn.19, p.244.
395 106 pretext according to the tenets of Vatsyayana. 107 The photographic description of a newly married girl in her 108 first union makes us to recollect the sutras of Vatsyayana. Some verses seem to us as if they are composed to illustrate the aphorisms of Love. S.K. De opines- "Almost every poem in this collection has a charm of its own. The verses have all the perfection of miniature word pictures, of which Sanskrit is pre-eminently capable. All of them treat love in its varied aspects, often youthful and impassioned love in which the senses and the spirit meet with all the emotions of longing, hope, jealousy, anger, dis-appointment, despair, reconciliation and fruition. "110 This Sataka, by its remarkable fineness of conception, richness of expression, delicacy of thought and feeling of love, became a model for future love-poets. The Kuttanimata or SambhalImata, written by Damodaragupta, is a didactic poem and an amusing work on erotics 106. Supra IV Chapter, Fn. 123, p.273. 107. Supra IV Chapter, Fn.122, p.272. 108. Supra IV Chapter. Fn. 138, 140, p.277. 109. Supra IV Chapter, Fn. 127-131, p.274. 110. Ancient Indian Erotics and Erotic Literature, p.32.
396 of peculiar interest. The poet vividly describes through the mouth of a procuress by name Vikarala, the various cunning arts, wiles and devices which are resorted to by harlots to decoy and lead to destroy guileness weakminded young men. The poet has taken the help of the Kamasutra of Vatsyayana to depict erotic sentiment as the wonderful ways of a young courtesan, who beguiles the hearts of men. 111 As an honest follower of Vatsyayana, the poet kbows down to the God of Love at the beginning of his poem. The heroine of the poem, Malati, is depicted as a scholar according to the words of 114 112 The poet describes low union, in all sixty-four arts, 113 Kamasutra. 115 union the highest 117 and equal union 116 in the light of Kamasutra. The word samarata is used for equal union by both the Damodaragupta has showed his deep knowledge of authors. 111. Supra II Chapter, Fn.5, p.34. 112. Supra II Chapter, Fn. 32, p. 45. 113. Supra II Chapter, Fn.31, p.44. 114. Supra III Chapter, Fn.64, p.112. 115. Supra III Chapter, Fn.65, p.113. 116. Supra III Chapter, Fn.67, 68, p.113. 117. Supra III Chapter, Fn.61, p.110. ↓
397 the erotic science when he describes the external and 118 internal coition. Rubbing embrace' and embrace of 119 breasts are sketched according to the Kamasutra. 121 120 The idea of Vatsyayana "tit for tat" is accepted by the poet and described at the time of water-sport. 122 Sasaplutaka i.e., jump of hare is one type of nail-print. 123 described by Vatsyayana' and it is referred to by the poet, by that word only, when he describes a harlot enjoyed 124 The teeth prints Bindu and Manimala are 125 by a man. described by the poet' which are stated by erotic 126 authors. Vatsyayana says that a woman will moan at sex-sport due to her tenderness and weakness. She will 127 utter some indistinct words at that time. Hence Vikarala advises to express such words at the time of 118. Supra III chapter, Fn. 19, p.124. 119. Supra III Chapter, Fn.42, p.132. 120. Supra III Chapter, Fn.17,18, p.124; 40, p.131. 121. Supra III Chapter, Fn. 41, p.145. 122. Supra III Chapter, Fn.42, p.146. 123. Supra III Chapter, Fn.54, p.160. 124. Supra III Chapter, Fn.56, p.161. 125. Supra III Chapter, Fn.56, p.161. 126. Supra III Chapter, Fn.10, p.166. 127. Supra III Chapter, Fn. 35, 36, p.191.
love sport. 128 In this description also the poet has followed the Kamasutra word by word. 399 The description of Purusavita done by Haralata and Malat 129 reminds us of the words of Kamasutra. 130 The signs of enjoyment and satisfaction of a woman are narrated 131 by the poet in accordance with the Kamasutra. Vatsyayana 133 134 132 Malati, a young courtesan, behaves like a girl described by to attract the new lover. The poet refers to two stages of the love-lorn condition of lovers, which are narrated at the beginning of Paradarikadhikarana. The instructions given by Vatsyayana to a duti to seduce other wives, are all used by the poet while describing the female messengers. The whole Vaisikadhikarana of 137' 138 135 136 128. Supra III Chapter, Fn. 40,41, p.192; 60, p. 199; 63, p.200. 129: Supra III Chapter, Fn.15, p.206. 130. Supra III Chapter, Fn.7, p.203. 131. Supra III Chapter, Fn.27, p.211. 132. Supra III Chapter, Fn.20,21,22, p.208,209. 133. Supra IV Chapter, Fn.82-84, p.250. 134. Supra IV Chapter, Fn. 91, 111, p.262, 259. 135. Supra VI Chapter, 136. Supra VI Chapter, 137. Supra VI Chapter, Fn. 11,12, p. 308,309. Fn.7, p.307. Fn. 83, 84, p. 332. 138. Supra VI Chapter, Fn. 86, p.333; 90-92, p.336. 1
F Kamasutra, has been transferred into poetry by the poet. Vatsyayana gives a list of people who are fit for friendVikarala suggests Malat】 to make ship for a harlot. 140 friendship with those people only. The importance of sutra, hence she is described by the poet. an old mother for a courtesan is mentioned by the Kamaplans to earn money from lovers, narrated by Vatsyayana 142 The 143 Malati tries are instructed by Vikarala to Malati. 144 145 to get rid of poor lovers by acting according to the 146 directions of the Kamasutra. Thus the poet has showed his knowledge of erotic science through his poem. 399 The poet has drawn amourous situations without any hesitation. He has used the Kamasutra freely. He never The prethinks that it is immoral to write such a poem. vious poets have taken the help of erotic science indirectly 139. Supra VII Chapter, Fn. 8, p.349; 9. p. 350. 140. Supra VII Chapter, Fn.10-22,pp.351-353. 141. Supra VII Chapter, Fn. 24, p.354. 142. Supra VII Chapter, Fn. 27,28,29,p.354, 355, 143. Supra VII Chapter, Fn.50, p.363; 51, p.364. 144. Supra VII Chapter, Fn.52-55, p.364, 365. 145. Supra VII Chapter, Fn.61-68, p.368, 369. 146. Supra VII Chapter, Fn.58-59, p.367.
400 or suggestively. But Amaruka and Damodaragupta take the Their poems are the illushelp of this science openly. trations of the Kamasutra. Thus the poet Damodaragupta, having displayed his knowledge of erotic science, became a model for other poets, to take the help of the Kamastra. Bhavabhuti, who is one of the brightest stars in the galaxy of Sanskrit literature, has written three dramas. Critics have compared him with Kalidase, because of his scholarship in various Sastras. Bhavabhuti expresses what Kalidasa suggests. Kalidasa has made use of the Kamasutra suggestively, but Bhavabhuti shows his acquaintance with the Kamasutra openly. In the Malati Madhava, the poet states that his drama is an illustration of the 147 Kamasutra. The poet exhibits his al-round learning and develops the love of Malati and Madhava as it were to issustrate the aphorisms of Kamasutra. In the seventh act, Buddharaksita quotes the lines from Kamasutra, which state the tenderness of woman, to Madayantika, whose brother, Nandana by name behaves crudely at first night. 148 149 147. HEAT CATAT MEAT: guIIT: Hierdeurfa fadtocarta | HITHYATT LONG Thha faat gut arfa factuafa || ¤TMAT.1.6. autsukyamayojitakamasutram citra katha 148. Supra IV Chapter, Fn. 13, p.242. 149. Supra IV Chapter, Fn.20, p.244.
401 1 The behaviour of Malati before Madhava 150 according to the Kamasutra. 151 is sketched The conversation held between Kamandaki and Lavangika, in the second act, is according to the dictates of Kamasutra. 152 Kamandaki, who behaves like a go-between, regrets for Malati, whose marriage is fixed with an ugly man. Further she disparages the greediness of the parents of the Malati. The whole Then she narrates the story of Sakuntala etc. scene 153 which creates hatred for Nandana and love for Madhava, in the mind of Malati is an illustration of the Kamasutra. When Kamandaki reports about her act as a duti, 154 we see that she has followed the rules of vatsyayana minutely. 155 156 Further she calls herself a Nisrstartha dutI, who is one of the four dutis narrated by Vatsyayana. 157 Thus Bhavabhuti never hesitates to exhibit his knowledge of erotic science and his acquaintance 150. Supra IV Chapter, Fn. 41,42,43, p.249; 99, p.264. 151. Supra IV Chapter, Fn. 35,36,37, p.248; 96, p.263. 152. Supra IV Chapter, Fn. 147-149, p.280. 153. Supra IV Chapter, Fn.150-153, pp.281-282. 154. Supra VI Chapter, Fn.88, p. 335. 155. Supra VI Chapter, Fn.83,84, p.332. 156. Supra VI Chapter, Fn.98, p.339. 157. Supra VI Chapter, Fn.97, p.339. 1
with Vatsyayana's great work. In this way Amaruka, Damodaragupta and Bhavabhuti are more influenced by Kamasastra than the previous poets. 402 Ratnakara's Haravijaya, which is composed in the 9 th century, is one of the biggest mahakavyas in Sanskrit literature. The poet has displayed his erudition in various sciences in fifty cantos of this kavya. As a follower of ornate poets, Ratnakara describes watersport, plucking the flowers, love-sick condition, duties of go-betweens, drinking parties, sex-sport etc. in many cantos. The physical beauty of females is drawn by the poet picturesquely. He describes female's breasts which are big like pitcher, which are full of flesh, which are straight and high, which have no space between them, hips which are big, laps which are like plaintan tree and navel which is deep. The poet has tried to draw every woman like a Lotus lady. The subject matter of Samprayogikadhikarana has influenced the poet very much. Hence he describes the embrace which is an indication of mutual love. He mentions Gadhalingana, Vrksadhirudhakalingana indirectly. 158. Supra III Chapter, Fn.37, p.130; 28, p.127. 158
403 Description of kiss on lips, on cheeks, on breasts and on hips is seen many times. 159 According to the words of Kamasutra the poet sketches nail-prints on breasts, on 161 160 In the same shoulders, on hips and on cheeks. Further he describes Rekha, Ardha-candra, Mayura-pada and Sasa-plutaka types of nail-scars described by erotic authors. way the poet refers to Bindumala which is a type of biting. The opinion of Vatsyayana, who says that love-sport is 164 like a quarrel, describes striking, squeezing, dragging etc. Descriptions of sitkara, purusayita, signs of enjoyment and satisfacis accepted by the poet. Hence he tion are witness to the influence of Kamasutra on the 165 poet. science. Thus Ratnakara has showed the knowledge of erotic The Yasastilaka campu of Somadevasuri, written in the 10 th century, is one of the land mark in campu 159. Supra III Chapter, Fn.2, p.147. 160. Supra III Chapter, Fn.11, 12, p.149; 28, p. 154; 31, p.154; 55, p.161. 161. Supra III Chapter. Fn.39, p.157. 162. Supra III Chapter, Fn.40, p. 172. 163. Supra III Chapter, Fn.1, p.182. 164. Supra III Chapter, Fn.6, p.184. 165. Supra III Chapter, Fn.44, p.193. 162
404 literature. The poet was well-versed in erotic science. The description of Amptamati in the first union 166 is an example for his knowledge of Kamasastra. The hero of the poem, Maradatta was, no doubt, expert in Kamasastra. 167 The adjectives and epithets given to the hero, show that he was well-versed in attracting the minds of girls of different countries. The description of water-sport, and play with young ladies in the Pramadayana show the influence of Kamasutra on the poet. Rajasekhara, who flourished in tenth century, was a famous poet. His Viddhasalabhafijika and Karpuramanjari are based on love stories only. The dramatist salutes 168 - In the God of Love at the beginning of his natika. Viddhasalabhanjika, the dramatist pictures the heroine Mrgankavali as Mugdha type of heroine. Hence she looks 169 at the earth bashfully, when the king Vidyadharamalla arrives. The description of Karpuramanjarl, who arrives on the stage in wet dress, is according to the Lotus-type The love sick condition of Mrgahkavall is of lady. 166. Supra IV Chapter, Fn.138, p.276. 167. Supra III Chapter, Fn. 39, 40, p. 227. 168. Supra II Chapter, Fn. 2, p.33. 169. Supra IV Chapter, Fn. 87, p. 261.
depicted artistically. 170 The love-lorn condition of the hero in Karpuramanjari 171 shows that the dramatist * AN is well-versed in Kamasutra, in which ten stages are described. 405 Vikramankadevacarita of Bilhana describes the glory of king Vikramaditya in eighteen cantos. This kavya depicts the love-life of a king. Caurapancasika, which is ascribed to Bilhana, depicts the recollections of a lover in the company of his darling princess. Both these works are full of erotic elements. The poet Bilhana describes the beauty of females by sketching their limbs. In Pancasika he remembers the sweet scenes which he experienced in the company of his beloved. In both the kavyas he narrates the eight steps of love which 172 are described by the Kamasutra. Embrace, nail-prints, 174 biting, various postures, 175 Purusayita 176 etc. are 173 170. Supra VI Chapter, Fn.29, p.315. 171. esa priyavayasyo hamsa iva vimuktamanasah karivamadaksamah mrnaladandamiva ghana dharmamlanah dinadipa iva vigalita chayah | prabhata purnimacandra iva pandurapariksinastisthati | karpura . pu . 43. Ed. Pandita Durgaprasada, (Bombay, 1900). 172. Supra III Chapter, Fn. 15, p.123; 48, p.133. 173. Supra III Chapter, Fn. 14,15;p.150; 29.p. 154; 52, p. 160; 61,p.162. 174. Supra III Chapter, Fn.8, p. 166. 175. Supra III Chapter, Fn.7, p.184. 176. Supra III Chapter, Fn.10, p.204; 14, p.206.
described picturesquely and they have become testimony for his knowledge of the Kamasastra. Further the pcet substantiates that love-sports is like a quarrel in the opinion of Vatsyayana. 177 The description of a sexually -178 satisfied female in Caurapancasika sutras of Vatsyayana. 179 is near to the 406 The poets, who flourished in the 9 th to 11 th certuries, were influenced by the second adhikarana of Kamasutra. Hence they depicted such scenes as are full of dalliance. Ratnakara and Bilhana made the maximum ise of this adhikarana, while describing the dalliance c£ lovers. They gave more importance to the lustful activities of lovers than to the love of lovers. Hence the influence of other adhikaranas, which deal with mental condition of lovers, is not seen in this age. The description of physical beauty of woman was also according to the tradition. The poets used the sutras of love as if they were a rule: Hence we do not see any charm in using erotic science in the literature which was composed in this age. But the poets who came after the 11 th 177. Supra III Chapter, Fn.7, p.184; 1, p.182. 178. Supra III Chapter, Fn.25, p.210. 179. Supra III Chapter, Fn.20, p.208.
century composed their works in a different style by making use of erotic science. Among them sriharsa was very famous. Sriharsa, who was treated as the last poet of the ornate age, has lavished his profuse knowledge of erotic science. The whole story of Naisadhiyacarita stands on erotic sentiment. Hence we see a lot of influence of Kamasastra on the poet. In the seventh canto, where he describes Damayanti from hairs to toe, he has honestly followed the description of Padmini type of lady, who is an ideal beauty according to Indian conception. sriharsa was also attracted by the matter of second adhikarana of Kamasutra like other poets. Hence we see the description of sprstaka, Latavestitaka, 183 181 184 182 180 vrksadhirudhaka' embraces, kisses on lips, forehead, breasts, eyes and on the secret part. According to the 185 instruction of Vatsyayana, Nala makes teeth-prints, 407 180. Supra III Chapter, Fn.41, 43, p.101. 181. Supra III Chapter, Fn.7, 8, p.121. 182. Supra III Chapter, Fn.23, p.125. 183. Supra III Chapter, Fn.29, p.127. 184. Supra III Chapter, Fn. 10,11, p.136; 15,16, p.138, 19, p.139. 185. Supra III Chapter, Fn. 26, 27, p.169.
409 186 nail-prints like Ardha-candra and presses the body of 187 Damayanti. In the description of love-sport, DamayantI makes hissing sound, cooing sound due to her weakness and delicateness according to the instruction of erotology. 188 The references to Purusavita, 191 Auparistaka, and sexually satisfied female's gestures are seen in 190 the mahakavya in many places. The whole delightful honeymoon scene of Nala and Damayanti, narrated by the poet 192 Nala shows the influence of erotic science on him. tries to create confidence in the mind of Damayanti. The poet pictures the ten stages of love-lorn condition of Nala and Damayanti in accordance with the Kamasastra. Thus Sriharsa has displayed here his deep knowledge of the erotic science. He was influenced by it, hence he depicted the love-scenes parallel to that science. 193 186. Supra III, Fn. 46, 47, p.158. 187. Supra III, Fn.23, 24, p.186. 188. Supra III, Fn. 38, p.192; 62, p.199. 189. Supra III Chapter, Fn.17, 18, p.207. 190. Supra III Chapter, Fn. 4, p.213. 191. Supra III, Chapter, Fn. 28, p.211. 192. Supra IV Chapter, Fn.15, p.243; 29,30, p.246; 48-51, p.252; 60, 61, p.254. 193. Supra VI Chapter, Fn. 15, p.310; 17, p.311; 20, p.312; 22, p.313; 35, p.316; 38, p.317; 44, p.320.
409 The Gita-govinda, which is a celestial song in praise of Lord Krsna, is a standard work in Sanskrit literature. It is a devotional as well as emotional song of Jayadeva. The love story of Krsna and Radha is depicted in this poem in a unique style. Hence S.K. De remarks- "The last reference brings us back to Jayadeva, author of the Gitagovinda, the last great Sanskrit poet of the highest artistic accomplishment, in whom Sanskrit love poetry, both in its technical and emotional aspects, reaches its climax. Jayadeva prides himself upon the grace, beauty and music of his diction as well as upon the delicacy of his sentiments. And the claims are not in any way " 194 Jayadeva, an ardent devotee of Lord extravagant. It lm Krsna, describes the amorous activities of his Lord with .195 Radha in various ways. Radha is depicted1 as Virahotkanthita, Vasakasajja, Kalahantarita and Vipralabdha. Krsna is called Nagara Narayana by the poet. Description 196 197 of nail-prints, different types of teeth-marks, 194. Ancient Indian Erotics and Erotic Literature, p.54. 195. Supra II Chapter, Fn.82, p.63; 85, p.64; 90, p.66; 94, p.67. 196. Supra III Chapter, Fn.16, p.150; 36, p.156; 51. p. 159. 197. Supra III Chapter, Fn. 7, p.165; 30,31, p. 170.
postures, 198 199 squeezing the limbs and Purusayita, show the exhuberant knowledge of Jayadeva. 200 Hence H.R. Agrawala opines- " '... The description is so picturesque that the poet appears to be transforming Kamasastra into "201 poetry. 202 203 Jayadeva accepts the idea' of Vatsyayana who says that love-sport is like a battle. The technical terms of erotic science have been used by the poet for puns and for suggestive allusions. The love as well as the devotion take the main part in this poem. The poet is longing for the darsana of Lord Krsna just like Radha. He, absorbed in devotional ocean, and having become himself Radha wants to unite with the Lord only. Therefore Lee Siegel aptly remarks- "Jayadeva's muse is like a young girl, who is skilled in the charming arts of love. is accomplished in those arts. She prepares the bed to practise them with Krsna. Krsna is Nagara Narayana. Radha 198. Supra III Chapter, Fn.15, p. 180. 199. Supra III Chapter, Fn.5, p.184; 28, p.189. 200. Supra III Chapter, Fn.16, p.207. 201. A Short History of Sanskrit Literature, (Delhi, 1963), p.118. 202. Supra III Chapter, Fn.5, p.184. 203. Supra III Chapter, Fn.1, p.182. 410
411 He is The Lord is Nagaraka. He is proficient in the art of love and Radha longs to experience that proficiency... proficient in the erotic practices which make up Tantrik sadhana, the sexual union in which human couple becomes the divine couple uniting all opposites, cosmic and biological, external and internal. "204 The devotee wants to become one with his Lord, just like a man or a wo man wants to become one with his or her consort. Union of Atman and Paramatman is called the highest goal of life. In the same way union of male and female is called the highest pleasure in the world. Thus the poet has described the devotional and philosophical matters on the basis of the erotic science. His deep knowledge of erotology is exhibitted in every song. After Jayadeva, most of the poets tried to imitate Gitagovinda, but they did not reach that standard. At the beginning of the 13 th century, Sanskrit literature started to decline and lost its charm. But we see some good poets here and there. They have made use of erotic science like other poets. Among them Rudradeva alias 204. Sacred and Profane Dimensions of Love in Indian Traditions as Exemplified in Gitagovinia of Jayadeva, Delhi, p.163.
412 Prataparudradeva, who was the king of Warrangal in 1268- 1319, is famous. His Yayaticarita exhibits his acquaintance with erotic science. The drama in seven acts is based on the theme of love of Yayati and Sarmistha. Sarmistha is pictured as a mugdha and she behaves according to -205 206 the Kamasutra before her lover. Yayati. Yayati creates confidence in the mind of Sarmistha as if he is a follower 207 of Vatsyayana's tenets. The love-lorn condition of 208 the hero and heroine is according to Paradarikadhikarana. Moreover Rudradeva accepts some statements of Vatsyayana 209 and describes them in another style. Thus the dramatist composes his work with the help of erotic science only. 1 Nayacandra is another poet influenced by the KamaSastra. His Hammirakavya, which has fourteen cantos, depicts the heroic deeds of Hammira, the last king of Chohans. Though the kavya is full of heroic sentiment, the poet has not missed to exhibit his knowledge of erotic 205. Supra III Chapter, Fn.69, 70, p.58, 59. 206. Supra IV Chapter. Fn.85, 86, p.261. 207. Supra IV Chapter, Fn.53, p.252. 208. Supra VI Chapter, Fn.28, p. 314; 31, p. 315; 40, p. 319. 209. Supra VI Chapter, Fn.51, p.322, 47, p.321.
413 science. He describes the love-sport scene in the seventh Before that he narrates the beauty of spring canto. season and water-sport of the king with the women of harem. 210 The picturesque description of Purusayita and moanings 211 of ladies, is a witness to his knowledge of Kamasastra. Nayacandra follows the tradition while describing the love-scenes. Gangadevi, authoress of Madhuravijaya or Virakamparayacarita, is one of the famous poetesses in Sanskrit literature. The kavya narrates the expedition of Kampana on Kanci and Madhura. Gangadevi depicts srigara as a subsidiary rasa in this kavya. Though the depiction of srigara is less in this kavya, it is according to erotic science. The description of physical beauty of Kampana, is based on the erotic texts. Description of male beauty is very rare in Sanskrit literature. Gangadevi provides it and shows her deep knowledge of erotology. She des- 213 215 cribes embrace, nailprints, 214 biting, 210. Supra III Chapter, Fn.9, p. 204. etc. in the 211. Supra III Chapter, Fn.39, p.192; 55, 56, p.197. 212. Supra III Chapter, Fn.58, 59, 60, p.109, 110. 213. Supra III Chapter, Fn. 14, p. 123. 214. Supra III Chapter, Fn. 13, p.150, 26, p. 153. p.170. 215. Supra III Chapter, Fn.32, 212
sixth canto in bold language. Thus the poets who came after Jayadeva, used the erotic science like him; but they were unable to narrate the amorous situations in the sophisticated language. After the 15 th century, Sanskrit literature started Most of the poets started imitating to loose its glory. the former poets. The kavya literature lost its beauty and suggestiveness. The number of dramas decreased and Bhanas became very popular among common people. Hence we see that most of the Bhanas were composed in this age only. 414 Though Bhanas were full of erotic sentiment, it was depicted in an unsophisticated style. Most of the Bhanas started to narrate the wicked nature of prostitutes and their lovers. The Srigara-sarvasvabhana of Nalla Dixit narrates the behaviour of a harlot, who was attracting 216 her new lover, beautifully. The Srigaratilaka Bhana of Ramabhadra Dixit depicts the passion of a sexy lady 217 in bold language. Further the Vita of this Bhana 216. Supra VII Chapter, Fn.7. p. 349. 217. feat at aari at faanfarent attyafa at fart ar de at dangad at meta at jai va dhiram va tarunamapi va vrdhdamapi va vilajja lilabhirnanuramayati tvam nipunike || • ti . bha . 143.
415 warns not to enter harem for love. 218 The Vita of Rasasadana Bhana narrates how to behave at the time of the first union and reminds us of the words of Vatsyayana. Kasipati in the Mukundananda Bhana salutes the God of Love in Nand 1 220 and describes a type of embrace 221 and 222 219 pictures a lady who acted like a man in love-sport. All these descriptions are in free words. The taste of the people changed and they started liking such undignified dialogues on the stage. We see some questions asked by a Vita in Dhurtavitasamvada. All these questions are related to sexology only. In this way the erotic science, which is pictured in Bhanas, is very cheap and lauded by common people only. Thus when we see the whole of Sanskrit literature, we find that Kamasastra has influenced many poets. Not 218. Supra VI Chapter, Fn. 107, p. 342. 219. supra IV Chapter, Fn. 73, p. 258. 220. Supra II Chapter, Fn.3, p. 33. 221. Supra III Chapter, In. 24, p. 126. 222. Supra III Chapter, Fn. 8, p. 204. 223. kamayamana vesya katham vijnayeta ? prathamassamagamah 1 kena karanena mohamutpadayati 1 katham vaisyavamcanam ? na prapnuyatkamah 1 darsana matrakenaiva katham sakyam raho naipunyam ? dhurtavita .
416 only the poets and dramatists made use of the erotic science, but also the religious preachers like Asvaghosa, samnyasins like Vidyaranya, Vadirajatirtha and great devotees like Jayadeva and Sankaracarya were impressed by Kamasastra and made use of that science in their works. Vidyaranya, in his Srimat Sankaradigvijaya, while depicting the amorous activities of Amaruka (in whose body the soul of Sankara had entered) with the women of royal harem, took the help of Kamasastra. Vadirajatirtha, in Kamasastra. Rukminisavijaya narrates the love of Krsna towards Gopis. There he describes kiss, embrace, biting etc. according to the texts of erotics. Many devotional songs or stotras of Sankaracarya describe the physical beauty of the This description is according to the conception of beauty as laid down by the erotic authors. Goddesses from hair to toe. 224 Thus the influence of Kamasastra is seen in literature suggestively in the earlier age, expressively in the middle age, and openly in the later age. 224. saundaryalahari - 207,13, 2,7, 13, 19, 23, 44-81. bhavani bhujamga stotra - 2,4,5. tripurasundaristotra - 1, 3, 5, subodhastotrasamgraha, pune . 1964. 6.
King Somesvara, who ruled Karnatak from 1127 A.D. 225 to 1138 A.D., in his encyclopaedic work, Manasollasa refers to Kamasastra. The Yosid-bhoga, the 20 th adhyaya of third Vimsati gives the details about females. He 226 The description describes six types of females. resembles that in other erotic texts. The 20 th adhyaya of fifth vimsati narrates about sexual sports. There the author follows Vatsyayana without any hesitation. According to the Kamasutra the author says that the king should enjoy a woman having known her country and the 227 } time which she prefers. Basavabhupala of Keladi (1684-1710 A.D), who wrote 228 Sivatattvaratnakara, an encyclopaedic work, has given importance to erotic science also. The twelfth and the thirteenth tarangas of sixth kallola narrate various matters about erotic science. The poet has followed the Ratirahasya and the Anangaranga in depicting the sexual matters. 417 225. Manasollasa of Somesvara, 3 Vols., Oriental Institute, Baroda. 226. gut a qfqual da fulauit asat aut i hastini samkhini ceti sadvidha jatirisyate || manaso . 3.20.1719. 227. vijnaya desakalau ca ratim kurvita bhupatih || manaso . 5.20. 1339. 228. Sivatattvaratnakara, Ed.S.Narayanaswamy Shastri, Mysore, 1964.
418 Kamasastra has influenced not only Sanskrit literature but also Indian sculpture. The temples of Khajuraho, Konarka, Jagannathapuri etc. are the best examples for it 229 The beauty of the female limbs is carved on stones without any hesitation. The stone damsels of Belura and Halebidu in Karnatak exhibit their physical beauty to every visitor. The various types of coition postures carved on the walls of Laksmana temple of Khajuraho, Sun temple of Konarka, Rajivalocana temple of Rajim (M.P.), Jagannatha temple of Puri, and Viranarayana temple of Gadag (Karnatak) exhibit the influence of Kamasastra on sculpture. The influence of Kamasastra is also seen in Indian paintings. The paintings of Krsna and Gopis at Mattancheri palace Cochin, Bhiksatanamurti and Mohini at Nataraja temple Chidambaram, Princess at her toilet, princess in the garden and royal couple in the harem at Ajanta caves, dancing Apsara of Brhadesvara temple Tanjore, clearly show the erotic themes in their colours. Even in the prosody, we see the erotic element in 229. Cf. Calambur Sivaramamurthy, The Art of India, New York, 1977. 1
. 419 giving the names to metres. Sragdhara (a maiden with Vasantatilaka (an ornament of spring), Caruhasini (sweetly smiling), Kunda-dant] (a maiden of bud like teeth), Tanvi (slender limbed) etc. show the connection with erotic science. Hence S.K. De remarks- "These are indeed pretty names, but they also point to a probable connection with "230 erotic themes. Thus Kamasastra has influenced many a branch of knowledge. By influencing literature, sculpture, painting etc., it has become an important part of Indian culture. 230. Ancient Indian Erotics and Erotic Literature, p.17.