Chapter 2.1 - Division of Men and Women into three types

The Samprayogika, the second adhikarana of Kamasutra, is one of the big adhikaranas and deals with the art and practice of sexual union. Yasodhara, the commentator, divides the Kamasutra into two divisions: viz., Tantra and Avapa. Art and practice of love is called Tantra and attracting ladies through Tantra is Avapa. This adhikarana containing ten adhyayas exhibits various matters about the art of love. I. Ratavasthapanam In the first adhyaya, Vatsyayana who is a keen observer of human nature, divides men and women into three types according to the length and depth of their sexual organs. Three types of men are: Hare-man, Bull-man and Horse-man. Three types of women are: Deer-lady, Mare-lady and Elephant-lady. Vatsyayana has not mentioned the size of the organs of males or females according to which he has divided them. But the commentators and other erotic writers who are the successors of Vatsyayana not only give the size but also 1 1. so vrso'sva iti limgato nayaka visesah | nayika punarmrgi vadava hastini ceti | ka . su . 2.1.1.

81 describe the other qualities. The man whose organ is six angulas in length is called a Hare; he whose organ is nine angulas is named as a Bull and he whose organ is twelve angulas is termed a Horse. In the same way, if the depth of the female organ is six, nine, twelve afqulas they are 2 called Deer, Mare and Elephant respectively. The Pancasayaka accepts this division but adds one more type of man namely a deer-man. All the erotic writers agree to the division of females mentioned by Vatsyayana. They have also accepted another type of division that is not mentioned in the Kamasutra but the same is very popular in the literature. That division is of four types: viz., The Lotus-lady, Art-lady, Conch-lady and Elephant-lady. division of these four types of females might have been done by Nandikesvara and Ganikaputra; because, Kokkoka says- "I compile first, the opinion of Nandikesvara and Gonikaputra; afterwards I will state the opinion of vatsyayana, 3 Having said this he discusses the four types of ladies. There is not much difference between these two 2. arohaparinahabhyam sannavadvadasamgulaih | guddayaih sasi vrso'svi na harinyasvebhikah striyah || rati . 3. 1. parinaharohabhyam sannavadvadasamgulai guddayaih | sasavrsabhasvah purusah harini vadavebhika naryah || 3. tatra prathamam nandikesvara gonikaputrayoh matam a samgrahisyamah paratah vatsyayaniyam | rati . 1. 9. nagara . 14.1.

divisions; because Elephant-lady is common in both the lists. Deer-lady of Vatsyayana with all good qualities is known here as Lotus-lady. Deer-lady who has interest in arts is called here Art-lady. In the same way, the Hare-man is divided into two types: The man who is a good-mate for a Lotus-lady is Hare-man and who gives pleasure to Art-lady is Deer-man. All the erotic writers have given the physical and natural characteristics of these males and females so as to recognise them easily. ing are their characteristics. FollowDeer-lady: Jyotirisa in his Pancasayaka calls her as Deer-lady who has tender limbs and long eyes, whose shoulders are long and delicate like fibrous stalk of creeper, whose hands bear the beauty of red lotus, whose waist is slender, who has good hair and loins, whose neck is like conch, whose breasts are wide and whose vagina 4 is six angulas. Padmasri, in his Nagara sarvasva, says- "She is Deer-lady whose gait is beautiful, who has delicate 4. mrdamgi dirghanetra vara basalatikakomala dirghabahuh sonambhojabhiramam vahatikarayugam hrasvamadhya sukesi | susronih kambukanthi prthukucayugala ya vahatyamgulikaih sadbhih kamdarpageham kathayati harinim tamiha jyotirisah || pam . sa . 2. 12. 1

83 body and dark complexion, who is cold like ice, whose teeth are beautiful and who speaks slowly, whose hair are thick, whose body contains phlegm more, who eats little, whose skull is well covered, whose mucus has good smell and ,,5 whose face is lovely. Kalyanamalla in his Anangarahga opines- "She is a Deer-lady whose hair are compressed and thick, who is slender and bearing good head, who has high breasts, whose eyes are like blossomed night lotus, whose nostrils are small, whose stomach is thin, whose hands, legs and lips are red, whose thighs and sex organ are fleshy, whose shoulders are long and soft like sprout, whose ears are wide, who is jealous, who is a gcod maiden, whose voice is like that of a cuckoo, who is coutous of sex, whose mucus bears the odour of lovely lotus, who eats little, whose Chips are good, fingers are straight, gait is like that of an elephant, whose mind is fickle 6 " and whose secret part is six angulas in depth. Kokkoka 5. lalitagamana tanvi syama himadhutisitala vikatadasana mandalapa susandra siroruha | samadhikakapha svalpahara sugudha sirosthika surabhisuratadya ca snigdhanana harini bhavet || nagara . 14.5. 6. sandrakumcitakuntala samasirastanvi sutumgastani phullendivaralocana'lpavivaramrana ca tucchodari | araktadharapanipadayugala pinorukamalaya prayah komalapallava TS laghubhuja vistirna gandasrutih ||

2 84 in his Ratirahasya gives the same characteristics in other words. Mare-lady: According to Kokkoka, she is called as Mare-lady whose head is uneven, whose hair are thick, straight and compressed, whose eyes are unsteady like the petals of blue lotus, whose face and ears are big and wide, whose teeth are strong and lips are attractive, whose breast pitchers are hard and full of flesh, whose shoulders are beautiful and fleshy, whose stomach is small, whose hands are soft like lotus, whose chest is wide and voice is sweet; who is anxious due to envy, whose navel is deep and round, whose hips are beautiful and big, thighs are long and straight, whose waist is think, galt is nice, heart is fickle, limbs are soft, who loves meals, sleep and lover, whose body contains first (vata) and last " (kapha) humours, whose mucus which is yellowish smells i like meat, who is satisfied by bull-man and whose sex organ is nine angulas. " Jyotirisa says- "She is a Mare-lady irsyaluh sukumarika pikarava tyantam rate lampata bibhatyambujamamjugandhimadanasyandam tathalpasana | susroni saralomgulirgajagatiscamca nmana ragini jneya nimnasadamgulaih parimitam guhyam vahanti mrgi 11 anamga . 3.20, 21. 7. nimnasamunnatamurdha sthulasarala sandra sira sijapracaya | utpaladalacalanayana sthulayatakarnayugalavadana || sthularada narajirayatadantacchdapinakathinakucakalasa | sulalitamasilabahuh tucchodari kamalamrdupanih ||

whose head is uneven and hair are thick, compressed and > twany in colour, whose eyes are fickle and resemble blue lotuses, whose face is lovely, whose breasts are high and weighty, whose navel is deep, who bears fleshy folds on the stomach, whose hips are big and sex organ is nine 18 angulas. ' Padmasri defines- "That young lady is fit to be called as a Mare-lady, whose breasts are hard and full of flesh, whose bones of ankles are tortuous, whose buttocks are big, whose limbs are warm, whose shoulders are soft, beautiful and fleshy, who sweats a litcle, whose limbs are white, whose mucus has the smell of meat, whose stomach is small, whose limbs are proportionate and whose body contains more bile. The Anangaranga gives 6" the same characteristics to a Mare-lady but it aids two 85 vistratahrdayakapata gadgadamadhuroktirirsyayo dvigna | nimnasuvartalana bhirvaka rucira jaghana samalaghurusca || vipulaka tirnatamadhya khelalasa gamanaraktasamacarana | capalahrdayakamalatanurnidraharapriya priyapravana || prathamacarama dhatvadhika pitapalalagandhi suratambuh | ksaranamadanaranagunini vahati ca vadava navamgulam guddayam || rati . 3.22.26. 8. vyanimnottumgasirsa bahutaraka pisasthulakesapracara camcannilambujaksi sulalitavadana tamgavaksojabhara | gambhiravartanabhilibhirupagata sroni bharalasamgi seyam ramdhramgulikam vahati rataguharandhrakam vai turangi || pam . sa . 2.13. 1. pinakathinakucabhagam vakrasthigranthi gulpamudrahati | T vipulajaghanamusnamgam mrdusalilamamsalau bahu || svedambukanopacita gauramgi palalagandhiratasalila | tucchodari samamgi taruni pittadhika vadava || nagara . 14-6.

86 epithets more: viz., she possesses a big lower lip and ' 10 in cohabitation she reaches climax after a long period. No doubt she resembles a conch-lady by all these characteristics. 11 Elephant-lady: The Pancasaayaka narrates the qualities of an Elephant-lady thus: Her limbs are fat, cheeks are big, hair are rough and bluish, lips are like Bimba fruit, shoulders are strong, breasts are big and hard and joints are defective. She is cruel, shameless, speaks like an ass, bears an ugly face, gets climax with trouble (in sex sport ). Her vagina is twelve angulas. Kalyanamalla gives his description thus: Learned people call her as an Elephant-lady, whose nose, cheeks, ears and neck are big, whose upper lip is long and big, whose eyes are red, fingers are crooked, hair are thick and blackish, whose hands, legs and shoulders are fat and short, whose tone is deep but rough, who is lovelorn, whose teeth are sharp, 10. kimcitprthvadhara ca suciratsambhogakale draved | anamga . 3. 22, 23. 11. sthalamgi sthulaganda laghutaranayana sthulanilalpakesa bimbosthi pinabahuh kathinagurukuca hinaparva'tidusta | nirlajja rasabhoktistaralitavadana sarvadakastasadhya nirdista hastiniyam vahati ravisamairamgulaih guddyadesam || pam .sa . 2. 14.

87 hai who is cruel and shameless, whose character is bad, whose breasts are big, who reaches the climax with trouble (in · love-play), who eats more, feels happy in bad works, whose mucus always smells like an elephant's ichor and the 12 depth of whose secret part is twelve angulas. The Nagarasarvasva describes as follows. Her body is mutilated and fat, teeth are protruding and hair are thick and black. She is red and she has vata. Het feet, hands and limbs I are fat. Her body is warm. She speaks more, she is fickle and fat. Her secret part is full of pubich hair 13 and her mucus smells like an elephant's rut. This description resembles the Elephant-lady of Gonikaputra. Now, we see the characteristics of four types of ladies who are popular in classical literature. first one is Lotus-lady. Among them the 12. pinapranakapolakarnagalaka prasthalalambistika pimgaksi daravakrpavanivaha prthvalpanilalaka | hrasvasthula karamghri bahuyugala gambhiraruksatvara kamarta satatam sutiksnadasana dusta ca vitatrapa || duhsila sablamgika prthukuca kastaikasadhyarata- vatyantam bahubhojana ca nitaram papesu baddha sprha | bibhatyaibhamadogragandhamapi sa kandarpaniram sada jneya bhanumitamguli kamadanavasa budhairhastini | anamga . 3.24, 25. 13. kharva sthula prakatadasana kuntalaih sthulanilaih rakta vataprakrtirakrsauhastapadairvaramgi | sitosnamgi bahutaravacascancala nalpameda romakirna vahati karini danagandham varaigam | nagara . 14.7.

89 Lotus-lady: The Pancasayaka describes- "That heroine is Lotus-lady, whose face is like the fullmoon, eyes are tremulous, breasts are plump, limbs are delicate, who is modest, fragrant like blossomed lotus, who gives pleasure according to the season, who has white complexion, who takes a little food, who is expert in dalliance, whose sound is like that of swans, who has self respect, bashfulness and takes pleasure in worshipping Gods and elders. Here the meaning of the 'Syama' is that a lady who gives pleasure according to season, but not as a dark lady. If we take the second meaning, it contradicts the next quality i.e. 'Gauradyuti,' Therefore, Mallinatha, wellknown commentator, gives the meaning of this word thus: That lady is called as 'Syama' whose colour is like that of gold which is purified in the fire, whose limbs are 15 warm in winter and cool in summer. The Ratirahasya defines Lotus-lady as follows: She is a Lotus-lady, who 14 is soft like lotus bud, whose mucus smells like a blossomed lotus, whose body contains divine fragrance, whose sides 14. sampurnendumukhi vilolanayana pinastani daksina mrdamgi vikacaravindasurabhih prayasa'tha gauradyutih | alpahararata vilasakusala hamsasvana manini lajjalurgurudevapujanarata sa nayika padimini || pam . sa . 1.6. 15. site sukhosnasamvagi grisme tu sukhasitala | taptakancanavarnabha sa stri kyaneti kathyate || bhatti . 5. 18. Ed. Bhuvanacandra, Calcutta,1885.

89 of eyes are red and resemble the beauty of the eyes of a frightened deer, whose beautiful breasts are attractive like Bilva fruits, whose nose is like the flower of sesamum, who has faith in worshipping Brahmins, elders and Gods always, whose complexion is like the petals of a lotus and who is yellowish white like a campaka flower, whose whose secret part is like a blossoming lotus-bud, who walks softly and gracefully like a female royal swan, who is slender, whose abdomen contains three fleshy folds, whose voice is like a swan, who wears good dress, who eats soft, clean and little food, who has self-respect, who is full of bashfulness and who likes white flowers 16 and clothes. The Anangaranga gives the physical beauty of a Lotus-lady as follows. Her eyes are like the eyes of a young antelope and reddish at the ends, her face is like the fullmoon and breasts are plump and protruding. 16. kamalamukulamrddhi phullarajivagandhah suratapayati yatthah saurabham divyamage | cakitamrgadrsabhe prantarakta ca netra stanayugala manarghyam sriphala sri pidambi || tilakusumasamanam bibhati natikam ca dvijagura surapujam sraddhadhana sadaiva | kuvalayadalakantih kapi vapayagauri vikacakamalakosakarakamatapatra || vrajati mrdu malilam rajahamsiva tanvi trivalivalitamadhya hamsavani suvesa | mrdu guci laghubhumkte manini gadhalajja dhavalakusumavasi vallabha padimani syat || iti . 1.11 13.

She is tender like sirisa flower, she eats little and she is modest. Her mucus smells like blossomed lotus. She has bashfulness and self-respect. She gives pleasure according to the season. Her complexion is like a yellow Cashpaka flower. She has interest in worshipping God etc. Her secret part is like a blossomed lotus flower, her voice is like that of a swan. Her body is slender and gait is like that of a female swan. She always wears good dress and her belly has three lines. She likes white clothes and she has good neck and attractive nose. A close comparative study enables us to know that some characteristics of a Hare-lady resemble this Lotus-lady. For example, soft limbs, high breasts, the odour of mucus, eating a little, etc. We may call a Hare-lady with pious mentality as Lotus-lady. Art-lady is also a Hare-lady but she has interest in arts and sciences. 17 Art-lady: Kokkoka describes- "She is an Art-lady 90 17. prantaraktaku ramgasavanayana purnendutulyanana pinottumgakuca sirisa mrdula svalpasina daksina | phullambhojasugandhikamasalila lajjavati manini syama kapi suvarnacampaka nibha devadipujarata || unnidrambujakosatulyamadanacchatra maralasvana tanvi hamsavadhugatih sulalitam vesam sada vibhuti | madhyam capi valitraya kitamasau suklambarakamksini sugriva subhanasiketi gadita naryuttama padimani || anamga . 1.11,12.

91 whose gait is beautiful, who is neither too tall nor too short, whose limbs are thin, whose hips and breasts are broad, whose legs are equal like the legs of crow, whose upper lip is raised, whose mucus odour is like that of honey, whose neck is like conch, whose voice is like of Cakora, who knows dancing, singing etc., whose secret part is round swollen and contains much mucus and few pubic hairs, whose glances are naturally unsteady, who has interest in external coition, who likes little sweet ., 18 " food and who likes various arts. Kalyanamalla sketches this lady in the following manner. She is Art-lady, who is slender, whose gait is like that of an elephant, who has unsteady glances, who has learnt music and sculpture, who is neither short nor tall, whose waist is thin, voice is like that of a peacock, breasts and buttocks are fleshy, legs are slender and attractive, whose mucus smells like honey, whose upper lip is small and raised, whose secret 18. sugatiranatidirgha natihasva krsamgi stanajaghana visala kakajamghonnatosthi | madhu surabhiratambuh kambukanthi cakora svaravacana vibhaga nrtyagitadi vijna || madanasadanamasya vartulocchunamanta mrdumadanajaladayam lomabhirnatisandreh | prakrticapaladrsti baddayasambhogarakta rasayati madhurapam citrini citrarakta || rati 1.1% 15. ' ●

92 part is swollen and has a few pubic hairs and which is soft in the middle round and full of mucus always, whose hair are black like bees, whose neck is like a conch, who has more interest in dalliance and less in coition. 19 The Pancasayaka describes as follows. She is an Art-lady, who is Syama, whose face is like a lotus, who is deer-eyed, who has a small belly, who is affectionate and knows the art of music, who has an excellent body, whose breasts are high, who knows sculpture, who has interest in studies and discussion, whose gait is like that of an elephant, whose voice is like that of an intoxicated peacock, who loves good poets and who creates various sounds. An Art-lady has some characteristics of Hare-lady and her 20 19. tanvamgi gajagamini capaladrk samgitasilpanvita no hrtva na brhattara'tha sukrsa madhye mayurasvana | pinasroni payodhara sulalite jaime vahanti krse kamambho madhugandhya thausthamapi sa tucchonnatam vatsala || kamagaramasandralomasahitam madhye mrdu prayaso bimatyullasitam ca vartulamayo ratyambunadayam sada | bhrmgi syamalakuntala ca jalajagrivopabhoge rata citra saktimati rate'lparucika jneyamgana citrini || anamga . 1. 13, 140 20. syama padamamukhi kuranganayana ksamodari vatsala samgitagamavedini varatanustun gasta timasilpini | vidyalaparata mataड़ gajagatirmayanmayurasvana vijneya kavisekhara pranayini citrasvana citrini || pam . sa . 1. 7.

speciality is that she is well-versed in music, singing etc, As she has interest in various arts, she is called an Art-lady. 6 93 She is She Her Conch-lady: The Ratirahasya describes her as follows. She is neither slender nor fat. Her body, feet and waist are long. She likes red flower and red clothes. wrathful. Her tubuler vessels are not concealed. has a deep secret part which has huge pubic hair. mucus has pungent odour. She makes many nail prints in cohabitation and ejaculates a small quantity of mucus. Her limbs are slightly hot by nature. She neither eats more nor less. She is billious by health. Her mind is wicked and impure and she speaks like an ass. 21 According to Kalyanamalla she is Conch-lady, whose head is long, whose body either slender or fat, whose feet are long, waist is broad, breasts are small, who is wrathful, who 21. tanuratanurapi syadvirghadeha iिnpramadhya yaruna kusumavasah kamksini kopasila | anibhrtasiramamgam dirgha nimnam vahanti smaragrhamatiloma ksaragandhi smarambu || srjati bahunakham kam samprayoge ladhiyah smarasalilaprsatka kimciduttaptagatri | na laghu na bahu bhoktri prayasah pittala syat pisuna malinacitta samkhini rasabhoktih || rati 1. 16, 17.

91 ejaculates a small quantity of mucus having purgent smell, whose glance is unsteady, who walks quickly, whose limbs are extremely hot, who makes many nail prints with passion in sex-sport, who eats neither more nor less, who is generally billious, who desires red clothes and red flowers, who is unkind and crooked, whose mind is wicked, whose 22 voice is rough and gurgle.' The Pancasayaka describes thus. She is a conch-lady, who is slender, whose glances are curved, breasts are small, who is passionate, whose hair are generally long, whose nature is crooked, who is difficult to enjoy in coition, whose colour is tawny, who moves rollingly, whose voice is rough, who takes pleasure in red clothes and who likes giving the nail prints on 23 various places. By the study of the characteristics of a Conch-lady we come to know that she is not other than 22. dirgham bahyasiram krsam prthumatho deham vahanti tatha padau dirgha tarau katim ca brhatim svalpastani kopini | guhyam ksaravigandhina smarajalenalpena sandraih kacai ranimnam kutileksana drutagatih santaptagatrabhrsam || sambhoge karajaksatani bahuso yacchatyanamgakula na stokam na ca bhuri bhaksati sada prayo bhavet pittala | stragvastranyarunani vanchati dayahina ca paisunya mrt pijhjha dustamanatraca thartharamaharaksatvara samkhini | anamga 1.15, 16. 23. tanvaigi kutileksana laghukucabhoga madavesini prayo dirghakaca svabhavapisuna kastopabhogya rate | pinga lolagatisca dhardharakha raktambaraddaladini nanasthananakhapradanarasika seyam mata samkhini || pam .sa . 1.8.

the Mare-lady. Because both are billious physically, wrathful in nature, both take pleasure in eating and both take time to reach the climax in love-sport. Elephant-lady: The Ratirahasya explains that- She is an Elephant-lady whose walking style is not attractive, whose feet have elevated fat and uneven fingers, whose shoulder is strong but short, whose hair are red in colour, whose actions are crooked, who is very fat, whose fluid of secret part smells like the rut of elephant, who eats more especially pungent and astringent things, who is shameless, who has drooping and very big lip, who is difficult to attain climax in sex-sport, who has hair even on body, whose secret-part is wide, who fatters in 24 speech. According to Kalyanamalla, she is an Elephantlady, who is fat, whose hair are tawny, who eats much, who is cruel and shameless, who has fair complexion, whose legs have crooked fingers, who is short, whose shoulders 24. alalitagatiruccaih sthulavakramguli ka vahati caranayugmam kandharam hrasvapinam | kapilakacakalapa kruracestatipina dviradamadavigandhih svangake'nangake ca || dvigunakatukasayaprayabhuk vitalajja laladativipulosthi duhkhatadhyaprayoge | bahirapi bahuromatyantamantarvisalam vahati jaghanarandhram hastini gadgadoktih || rati . 1. 18, 19. 95 1

96 are drooping, whose vaginal fluid is more in quantity and smells like the rut of elephant, who walks slowly, who is difficult (to attain climax) in love-play, who fatters 25 and who has thick lip. According to Jyotirisa, she is Elephant-lady, whose body is fat or full of flesh, who walks slowly, who is crooked, whose shoulders are drooping, whose hair are a little tawny, whose breasts are plump. whose face is shameless, whose lips are like Bimba fruit, who has much appetite, who is difficult (to orgasm) in union, whose limbs are fair and whose vaginal fluid smells There is not much of a like the rut of elephant. 26 difference between Vatsyayana's Elephant-lady and this Elephant-lady. Both have common characteristics. Both have thick lips, both are crooked, both have no shame, 0 both attain climax in cohabitation with difficulty, both have interest in eating, the vaginal fluid of both smells like the ichor of an elephant and moreover, both have the same name. Hence we can easily say that there is no difference between three types (Mrgl, Vadava, Hastinl 25. sthula pingalakuntala ca bahubhuk krura trapavarjita gauramgi kutilamgulikacarana hrasva namatkandhara | binatyaibha madambugandhi ratijam tayam bhrsam mandaga duhsadhya surate 'tigadgadarava sthulausthika hastini || anamga . 1. 17. 26. pinasvalpatatubhyam mrdugatih kura namatkandhara stoka pimgalakuntala prthukuca lajjavihinanana | bimbosthi bahubhojyabhojanarucih kastaikasadhya rate gauramgi karidanagandhimadanastrava mata hastini || pam .sa . 1.9.

of Vatsyayana) and four types (Padmini, Citrini, Sankhini, HastinI) of ladies except the number because the qualities of three types (of ladies) are divided in four types. 97 Description of such feminine beauty has attained a remarkable significance in Sanskrit literature. No other literature in the world has probably described the feminine physical beauty as in Sanskrit. The poets have sketched the pictures of females from hair to feet according to the Indian conception of feminine beauty. No doubt, most of the descriptions follow an established convention of literature and it is according to the text of erotics. In the beginning of classical Sanskrit literature, it is not seen much, but when we approach the age of ornate poetry, we come to know that description of feminine beauty is to display the knowledge of erotic Description of Damayanti, which extends over science. a full canto (7 th canto of Nasadhiya) is the best example for it. Though the description is very long, it is valuable due to the poetic beauty. The poets are not averse to the spiritual beauty though they are depicting the physical charms. All the heroines in Sanskrit dramas or in poetries Kalidasa depicts are mostly the Lotus-type of women.

98 Parvati as a Lotus-lady by describing her feet as lotuses, 28 her gait like that of royal swans, her thighs plantain 29 stalks, her slender waist as having three folds of skin, her yellowish white, black nippled breasts which have no 31 27 30 space between them, her shoulders which are more delicate 33 32 than Sirisa flower, her deep navel, her hair which are 34 36 35 curly, her eyes which are long' and her face which is like lotus. In the Malavikagnimitra, the poet pictures the beauty of Malavika according to the conception of beauty which resembles the Lotus-lady. Her face has long eyes and the lustre of the autumnal moon and her two arms are sloping at the shoulders, the bosom is compact, having 27. ajahatustaccarano prthivyam sthalaravinda sriyamavyavastham | kumara • 1.33. 28. sa rajahamsairiva samnataigi gatesu lilancitavikramesu | 29. vyaniyata pratyupadesalubdhera ditsubhirnupura sijitani || kumara • 1.34. nagendra hastastvaci karkasatvadekantasaityatkadali visesah | labdhvapi loke parinahi rupam jatastadurvorupamanabahyah || kumara . 1. 36. 30. madhyena sa vedivilagnamadhya balitrayam caru babharabala | kumara . 1.39. 31. anyanyamutpidayadutpalaksyah stanadvayam pamdu tatha pravrddham | • madhye yatha syamamukhasya tasya mrnalasutrantaramapyalabhyam || kumara . 1. 40. 32. sirisapuspadhika saukumaryau bahu tadiyaviti me vitarkah | kumara . 1 ma 35. tasyah pravista natanabhirantham raraja tanvi navalomarajih | kumara . 1. 38, 340 kutilake si .... 1 kumara . 8.45. 35. etadandhatamasam nirargalam diksu dirghanayane vijrmbhate | kumara . 8.55. 36. candram gata padmagunanna bhumkte padmasrita candramimabhikhyam ! umamukham tu pratipadya lola dvisamsrayam pritimavaya laksmih || kumara . 1. 43.

} 99 close touching and raised-up breasts, the two sides are as if polished, the waist measurable by the hand, the hips expansive, her feet have curved toes, her body is moulded according to the fancy in the mind of the dance 37 teacher. The adjectives given by the poet to Malavika are the epithets of a Lotus-lady only. The physical charm of Yaksini in the Meghaduta also is the graphic picture of a Lotus-lady. The poet explains her thus: She, who is slender, who is youthful, whose teeth are sharp, whose lips are like ripened Bimba fruit, whose waist is slim, whose glance resembles that of a frightened } deer, who has deep navel, who goes slowly due to the weight of hips, who stoops on account of breasts, is the first creation of Brahman among women. 38 In the Ratnavall, the king of Vatsa describes the beauty of Ratnavali or Sagarika thus: Your face is like the moon, your eyes are like blue lotus, your hands are like day lotus, your two thighs are like plaintain stalks, { 37. dirghaksam saradindukanti vadanam bahu natavamsayoh samksiptam nibidonnatastanamurah panavarse pramrste iva | madhya panimitom nitamba jaghana padavaralamguli chando nartayituryathaiva manasah slistam tathasya vapuh || mala . 2.3. 1 38. tanvi syama sikharidasana pakvabimbadharosthi madhye ksama cakita harini preksana nimnanabhih | srinibharadalasagamana stokanamrastanabhyam ya tatrasyadhvati visaye srstideva dhatuh || mugha . 84.

your shoulders are like lotus stalk, thus 0 you having limbs which give pleasure, embrace me tightly and cool my limbs which are hot due to Love God. 39 Here, all the adjectives show that Ratnavall comes under the Lotustype of the lady. It is a convention that there is no space between the two breasts of a beautiful woman. Hence, Ratnakara in his Haravijaya states- "The slender maiden, with curiosity, having directed her friend to place the lotus stalk between her breasts where there is no place, came to know the expanse of her bosom. "40 Sriharsa describes the physical charm of Damayanti in a full canto and substantiates that she belongs to the Lotus type. When he describes the love-lorn condition of Damayanti he states- "The breeze of the gazelleeyed damsel's sighs assumed the magic power of secret entry, inferred only at the time of exist, in order to 39. sitamsurmukhamutpale tava drsau padamanukari kari rambhagarbhanibham tavoruyugalam bahu munalopama | -ityathadakara khilamgi rabhasannih sakramalimgya ma- bhamgani tvamanamgatapavidhuranyeyehi nirvapaya || ratna . 3. 11. Ed. & Pub. by Kumudaranjana Ray, Calcutta, 1944. 40. kutuhalenaiva kucadvayasya madhye'vakasadhigamaya tanvi | sakhikaranyasta mrnalanalasutrah pitam hrdayam bibharti || hara . 25 -16. Ed. Pandita Durgaprasada and K. P. Parab. Niranaya sagara Press, Bombay, 1890. 100 1

1 101 42 stir up its friend, fire viz., cupid living in her mind. "41 Here the poet used the word "Gandharvahena" purposely to show that Damayanti is Lotus type of lady because smelling like a lotus is one of the characteristics of this lady. At the time of depicting the amorous activities, the poet sketches Damayanti thus- "Concealing her feelings somewhat out of bashfulness and somewhat manifesting the grace of them with good humour, she, a woman of Lotus class resembled Here, the a lily with buds and full-blown flowers."43 poet has used the word 'Padmin' to show that Damayanti is Lotus type of lady. According to the conception of Indian beauty, poets have coined many adjectives for the limbs of a woman to establish her as an ideal for beauty. Some of the important epithets are as follows: Hairs which are black, long 41. suhrdamagni mudam cayitum smaram manasi gandhavahena mrgidrsah | akalinisvasitena vinirgama numita nindutavesanamayita || naisa . 4. 14. Ed, Narayana Rama Acharya Nirnaya Sagara Press, Bombay, 1952. 42. padmini padmagandha ca | smara . 39. 43. kurvati nighulitam driya kiyatsauhrdadivrttasauramam kiyat | kudmalo nimasitasunasevitam padminim jayati sa sma padmini || naisa . 18.52

102 44 and curly; black and curved eye-brows, eyes like lotus, fish and deer, face like the moon and lotus, lips like Bimba fruit, neck like a conch, breasts which are big, fleshy and like pot or pitcher which are high and hard, stomach which is thin, emaciated and with three lines, middle part which is small, navel which is deep, hips which are fleshy, big and broad, thighs like the trunk of an elephant or a plaintain stalk, hands and legs which are like lily etc. The limbs are soft and attractive. Such type of description is seen in all the poems and dramas. Some poems are devoted entirely to describe the feminine charms. The Srigarasataka, the Amarusataka, and the Caurapancasika describe not only the beauty but also depict erotic situations with abundant sensous details. The depiction of female beauty in ornate poems is often embarrasing though it is conventional. later literature is, no doubt, an exhibition of the author's knowledge of Kamasastra. The 44. asitakesi dirghakesi - kutilakesi - asitabha - navabha - nilotpalaksi minaksi bimbosthi - - mrgaksi - candramukhi - kamalamukhi raktadhari - kambukanthi - gurustani - pinastani tujhgastani - kathinastani kathinastani - krsodari pinajadhana ghatastani - kumbhastani ksamodari - madhyakrsa nimnanabhi - trivali gurujaghana visalajaghana - karabhoru rambhoru karakamala padakamala - komalangi - sundarangi

103 The physical beauty of males is also described in the text of sexology. Kamasutra gives three types of males to which other erotic writers also agree. But, Jyotiriba adds one more type of male and he is Deer-man. Thus, we see four types of males. The first one is Hare-man. The description of this man is given by the Ratirahasya as follows. His eyes are red and wide, his teeth are small and equal, his face is round, he wears good dress, his hand is soft and red with beautiful fingers, he speaks nicely, his hair are curly and soft, he has short neck, his knees, laps, hands, hips and legs are thin, he eats a little, he has a little pride and a little desire for sex-sport, he is clean and rich, he has much self-respect, his semen has good smell, he is handsome and happy. Kalyanamalla gives the same description and adds one adjective more that he is very calm. The Pancasayaka adds three more qualities viz. he has 45 46 45. atamaspharanetra laghusamadasana vartulasyah suvesah | mrdvaraktam vahantah karamatilalitam slistasakham suvacah || vrttavyalolalilah sumrdusirasija natidirgha vahanto grivam januruhaste jaghanacaranayorbibhatah karya mucyaih || alpaharalyadarpa laghusurataratah cauca bhaji dhanadayah | manodirnah sasah syuh surabhiratajalah kantimantah saharsah || rati . 3.30,31. 46. prayah komalakuntalah prthudrsah santasca tucchasanah | anamga . 3. 16. }

4 a fat body, big ears and he is a sportsman. 47 104 ་ Bull-man: The Ratirahasya depicts this man thus- "He is a Bull-man, whose head is broad and elevated, whose forehead is broad, who has fat neck, whose ears are strong, whose stomach is like the shape of a tortise, who is stout, whose shoulders are high and long, whose hands and stomach are red, whose eyes are like the petals of red lotus, who is virtious, whose walking style is like that of a lovely lion, who speaks gently, who bears troubles, who is liberal, who sleeps more, who has no shame, whose digestive power is strong, who is phlegmatic, who has happiness in his middle and old age, whose body contains more marrow and fat with salts, who is liked by all women and whose sex-organ is nine angulas in length. "48 The Anangaranga adds two more qualities to 47. " sthuladeha lambakarnah ... kridavanto ... prasasyuh | pam . sa . 2. 8. 48. spharabhyunnatamastakah prthutare vaktralike bibhatah sthulagriva subhasalatibhrtah kurmodasah pivarah | dirghapronnatakaksalambitabhuja araktahastodara raktantasthirapaks mala mbujadalacchayeksanah satvikah || khela simhapadakrama mrdugieh pidasahastya gini nidrasakti bhrtastrayavirahita diptagnayah slesmalah | madhyante sukhino'timajjavapusah saksaramedodhikah sarvastri subhaga navamgulamita limgam vrsa bibhati || rati . 3.32, 33.

105 49 this man, viz. he has expansive chest and he is fickle. According to the Pancasayaka, he is a bull man, who has pride, who is expert in the art of sex, who is handsome... who has a good shape, who has unsteady eyes, whose speech is pompous and who has middle passion in sex-sport. 50 Horse-man: The Ratirahasya describes this third type of male thus. He is called a Horse-man whose face, ears, neck, lips and teeth are long and thin, whose armpit and shoulders are full of flesh, whose hair are compressed, straight and thick, who has much envy, whose knees are curved, whose nails are good, whose fingers are long, whose eyes are wide and unsteady, who needs more sleep, whose speech is sweet and serene, who walks quickly, who has strong thighs, who unites with intensely passionate women, who speaks truth, who has much semen and marrow, who is thirsty, whose semen is thick, saline, cold and like butter, whose sex organ is twelve angulas and whose 49. supraudhavaksahsthala vyalola ...| anamga . 3.17. ... 50. spharakarah sadarpah suratarasakalalampatah sundaraga vyudhoraskah surupah susamajatharini mamsala laulanetrah | atyanta praudhavaci parilaghu ghrtayah krodhana madhyavega uksano lingamisadvitatajna navamitairaimgulikaih vahanti || pam . sa . 2.10.

106 chest is expansive. 51 The Anangaranga adds one more quality viz. that Bull man wishes coition with fat women. According to Pancasayaka he helps others, he is virtuous and he has intense carnal desire. 53 52 Deer-man: Jyotirisa describes this man: "He is a Deer man, whose hair is beautiful, who speaks gently, who wears good dress, whose neck is long, who is active, whose eyes are charming, whose hands are red, whose rows 54 of teeth are equal and who has auspicious marks. erotic writers have not mentioned this type of man. is a good mate for a Deer-lady. Other He 51. vaktrasrotrasirodharadhararadairatyantadirsaih krsa rye syuh pivarakaksa mamsalabhujah sthularjjusandrah kacaih | pradersyah kutilamga janu sunava dirghaguli srenayo dirghasphara vilolalocanabhutah praudhasca nidralasa || gambhiram madhuram giram drutagatim pinoruko bibhato diptagnipramadaratah sucigiro reto sthidhatrjvalah | trsnarta navanitasitabahala ksarasmarambudava limge rdvadasaka gulairnigadita asvah samorasthalah || rati . 3.34, 35. 52. sthulastriratilalasa 1 anamga . 3. 19. 53. parahita nirata satvika candasambhogaratta ...| pam . sa . 2.11. ... ... 54. sucarukesi mrduvak suvesah sudirghakanthascapalah sunetrah | suraktapanih samadantapamktih saubhagyayuktah kathito mrgo'yam || 4.AT.2.9. ,

107 When we go through the literature we are surprised to find that poets have not taken much interest in depicting the physical charms of males. The reason may be according to Indian convention, a man, who had knowledge, virtues and who had done heroic deeds, was glorified. Therefore, poets gave much importance to those matters and not to the physical beauty. All the heroes of the dramas or of the kavyas were depicted as virtuous, learned, brave, liberal etc. Yet, we see a little description of the physical charms of males here and there. Kalidasa describes Dilipa's physique in a verse- "He possessed a broad chest, bull-like shoulders and long arms. He was tall like sala tree. He was a though Dharma of Ksatriyas 55 resorting to a body fit for its work. Here the poet has given the physical description only in a line, but he describes the fame, virtues, bravery etc. in many verses. Bana describes at length Dadhici in the Harsa Carita; Tarapida, Tarapida, Candrapida and Vaisampayana in the Kadambar 1. 55. vyudhorasko vrsaskandhah salapramsumahabhujah | 1 atmakarmaksamam deham ksatro dharma ivasritah || raghu . 1.13. Raghuvamsa of Kalidasa. Ed.G. R.Nandargikar, Motilala Banarasidasa, Delhi.

109 But he has not given much attention to the physical body. Sriharsa, who narrated Damayanti's beauty in a full canto, 1 has depicted Nala in a few verses. He describes Nala 56 thus- "His foot held the lotus in contempt. His arms received the length and stoutness of a bar while storming the forts of his enemies and in the same activity the splendour of his chest assumed the breadth and unassailable strength of the shining panel of a fortified door. His face eclipsed the moon with its smile, which was but a fraction of its grace and threatened the beauty of the lotus with its eyes, which were but a part of it. So it had nothing similar to it in the world, which had no other beautiful object that surpassed those two. 157 Thug Sriharsa depicts his hero Nala in a few verses. Some of the female poets of Sanskrit have shown keen interest in sketching the physical beauty of their male characters. Gangadevi, the author of the Madhuravijaya describes the physical charms of the hero viz., Kampana, the husband of the author. She describes 170.1.20. 56. adhari padmesu tadainksina ghrna 57. amusya dorbhyam aridurgalunthane dhruvam grhitargaladirghapinta | urah sriya tatra ca gopurasphuratkapatadurdharsatira prasarita || svakelilesasmitaninditenduno nijamsaktarjita padmaspadah | atadddvayijitvarasundarantare na tanmukhasya pratima caracare || naisa . 1. 22, 23.

109 Kampana's walking style which is like the gait of the elephant, with poetic fancy. She states- "His walking was graceful and stately, it looked as if the elephants dwelling in the mountain cave gave it as a present in advance to get themselves caught and kept by him a favour • for which they always longed. 158 She continues her description as "The loins of the hand-some prince, hard as stone with their golden band resembled the base of the 'Anjana' hill encircled by a fresh streak of red coloured mineral. His waist shapely and slender, which greatly enhanced the beauty of his personality suggested, the idea of the lions having yielded their monopoly, as a sort of hush money in his favour as they were extremely afraid of his strength. His chest was so broad that it was able to hold in its expanse, the breasts which are like frontal globes on an elephant's head, of beautiful 1,59 She further narrates that his hands were strong woman. 58. sa sarvatah parvatakandarasrayaih parigrahanugrahakam ksibhirgajaih | vitirnamutkocatayeva dhiradhira dharayad vibhramamanyaramgagatam || madhura . 3.6. Madhuravijayam of Gangadevi. Ed. S. Tiruvenkatachari Annamalai University, Annamalainagar, 1957. | 59. subhakrtastasya suvarnamekhalam katisthalam sthulasila visamkatam | vyadambayannutana dhatupattika pariskrtamamjanabhubhrtastatim || adharayaddarsitadeha sausthavam sa rajasunustanuvrttamadhyam | parakramatrasita cittavrttibhirmrgadhirajairupadikrtaniva || vyarajataurah sthalamasya tavata 'visalabhavena kavatabandhuram | karindra kumbhapratimam mrgidrsam kucayam yati na yavata bahih || madhura . 3.8.9.10.

1 and long. She compares the face of Kampana with beard to the moon, whose black-spot is removed from centre and drawn as a line at the edge of its arb. She describes his eyes as being like a lotus. At the end of the description she says- "His body and prowess grew side by side. Together also did his eyes and fame become more and more white coloured. His neck along with his qualities expanded increasingly. voice together gained in depth. And both his mind and 1,60 110 Thus we see the description of physical charm of male here and there. But the handful examples which are available follow the Kamasutra. The convention of male beauty which is depicted is according to the erotic books. We may analyse all the heroes into those four categories. In this way the description of male or female is according to the Kamasastra. Vatsyayana, having made the divisions of male and female states- "There are three equal unions and six unequal unions.461 Unions of Hare and Deer, Bull and 60. sahapratapena samunnatim vapurvalaksabhavam yasa vilocane | gunaih parinahamamusyakandhara svarenagambhiryamagacchadasayah || madhura . 3.16. 61. tatra sadrsasamprayoge samaratani trini | viparyayena visanani sada | ☎7.8.2.1.3, 4.

1 Mare, Horse and Elephant are called equal unions. Other coitions are unequals. Six unequal unions are once again divided as follows. Bull Deer ☐ high union; Mare = low union; Horse - Mare = high union; Hare Bull Elephant = low union; Horse Deer highest union; 111 Hare Elephant = lowest union. Thus we see nine types of unions. Among these equal unions are good, highest and lowest are worst and other unions are nutral, All other erotic writers also say the samething. The Anangaranga gives the reasons to convince that unequal unions are not good. It says- "In low unions, the women will not get satisfaction as their itching will not stop by unequal sex organ of the male. In high unions they will not get pleasure due to big organ of the male as women's organ is #62 very delicate. Hence, equal unions are good. Kamasutra, 1 in the same way depicts another nine kinds of union according to the passion as well as time. Vatsyayana saysA man is called a man of small passion whose desire at the time of sexual union is not great, whose semen is scanty 63 and who cannot bear the bitings of the female. Those 62. pramanahinalimgena sa kandunaupasamyati | ato na nicasambhoge tustim gacchanti yositah || varagamadhye narinamatyantam komalam smrtam | atipramanalimgena natastatam sukham bhavet || anamga . 3. 7, 8. 63. yasya samprayogakale pritirudasina viryamalpam ksatani ca na sahate sa mandavegah | ka . sa. 2. 1. 13.

112 who differ from this nature are called men of middle passion, while those of intense passion are full of desire. In the same way women are supposed to have three degrees of feeling as specified above. Thus, we see nine types of unions here. Equal unions Small-small; Middle-middle; Intense-intense. Unequal unionsMiddle-small = high union Intense-middle = high union Small-middle = low union Middle-intense = low union Intense-small = highest union; Small-intense = lowest union. On the basis of short-timed, moderate-timed and long-timed once again we get nine types of unions. Successive erotic writers accepted these all types. Some of these coitions are referred to by the poets. Damodaragupta, in his Kuttanimata describes the experiences of ordinary prostitutes, where he has mentioned equal and unequal coitions. One whore tells her experience in this way- "I went near him and participated in drinking and in the meals. The night was passed in talking but love-sport was for a moment only."64 Here the low-union is described 64. paricitapasrvagataham tenasamam panabhojanamkrtva | nita nisa kathabhirmohana karya tu yatkimcit || kuttani . 392.

113 as the male is of little passion which is short-timed. Another prostitute narrates the highest union as she got a man of intense, prolonged passion by whom she was fatigued and pained. Another unsatisfied harlot states her experience of coition with an old man who has no virility 66 65 at all. The poet depicts the equal union through a harlot who addresses her friend- "O friend, my lover, who was smart, who was of neither small nor intense passion, won my heart by soft and satiric words as well ..67 as with equal union."` The poet further says that Kama can be achieved by enjoying equal union only. Here the poet has used the word samarata intentionally to show that he knew Kamasutra of Vatsyayana who has said that samarata is the best union. Ratnakara has described the unequal union. 70 69 68 65. avidagdhah sramakathino durlabhayo bidhuva jado viprah | apamrtyurumakantah kami vyajena me ratrau || kuttani . 393. 66. necchaviratih ksanamapi na ca saktirvastusunyaratiratnaih | kevalamalamadyaham kadarthita vrddha purusena || kuttani . 394. 67. sukumara samprayogah pesalavacanah sa vakra parihasah | kusalavasana sameto mamasakhi ramano manoharakarah || kuttani . 396. 68. ....kamah samaratanaropabhogena | kuttani . 652 • 69. tesu samani sresthani | kam . su . 2. 1. 9. 70. amsanamasamaratantatabhiramam bibhratyah sriyamatiropadhata bhajam | bhuyasyovanamanu nayakanuyatastah sena iva kusumayudhasya celuh || hara . 17.9.

114 After stating many types of coitions, Vatsyayana discusses the female's pleasure. There is no uniformity of opinion about what happens to a woman in 'orgasm' or in the climax of pleasure. Kamasutra quotes the opinion of Auddalika who says- "Females do not emit as males do. But females, from their consciousness of desire, feel certain kind of pleasure which gives them satisfaction. But here one may object that generally females love the man who has a long-timed passion and dissatisfied with one who has short-timed passion. From this it is proved that females also emit. To this objection Auddalika says- "Women feel great pleasure in coition, hence they like long-timed one. Further he proves it stating that It 71 " In by union with men, the itching in women is removed. is called pleasure arising from consciousness. this connection, the opinion of Babhravya and his followers is thus: The semen of women continues to fall from the beginning of the sexual union to its end, and it is right that it should be so, for if they had no semen there would be no embryo. According to this opinion 72 71. samyoge yositah pumsa kandutirapanudyate | 72° taccabhimanasamsrstam sukhamityabhidhiyate || ka . su . 2.1.31. satatyayuvatirarambhatprabhrti bhavamadhigacchati | etadupapannataram | tayasatyam bhavapraptau garbhasambhava iti banaviyah | ka . su . 2. 1. 32, 33, 34.

115 women ejaculate in coition when they are satisfied. They have no desire to continue cohabitation when all the semen has come away. They also quote one verse which statesThe fall of the semen of the man takes place only at the end of the coition while the semen of the woman falls continually and after the ejaculation they wish for the discontinuance of coition. According to Vatsyayana, the semen of the female falls in the same way as that of 74 the male. 73 75 Even today it is a mystery what happens to a woman in her orgasm. Dr. Van De Velde opines: "Here the matter is still uncertain and very difficult, especially because of the extreme individual diversity among women. There can be no discharge of 'spermat' as in man; but ejaculation is often used as synonymous with 'orgasm' and without clear understanding whether anything is ejaculated and if so what?" Thus, this matter is more obscure, more complex t pumsam strinam 73. geara ga gai zatoni a and gen | sukham | dhatuksayanimitta ca viramecchopajayate || ka . su . 2.1.41. 74 tasmada purusavadeca yosito'pi rasavyaktirdrastavya | ka . su . 2.1.42. 75° Ideal Marriage Dr. Van De Velde Allied Publishers Private Ltd., Bombay., 38 th Edition, 1962, p.172.

116 and uncertain. But Vatsyayana believed that a woman in her detumescence expels something. Therefore he saysMen and women being of the same nature feel the same kind of pleasure and therefore a man should unite with a woman in such a way that she experiences a complete orgasm before her partner. The intention of Vatsyayana is that both partners should reach the climax of pleasure at the same level. Then only it is called equal coition. fore the male should try to enter detumescence with his partner only. We wee such a description in the Naisadh Iyacarita of SrIharsa. In the love-sport, Nala, who was Therereaching the climax of pleasure thought of taking Damayanti to that stage and started to kiss her armpit, breasts * * and navel to kindle the fire of sex. Hence both experienced 77 Otherwise it would become a low orgasm at the same time. coition. In another sex-sport, Nala, having seen his beloved, who was reaching climax of pleasure, showed his image reflected in jewel-pavement, diverted her mind and made her confused about that man. Here Nala, cuts the 78 76. jaterabhedadvampatyoh sadrsam sukhamisyate | tasmattathopacarya stri yathagre prapnuyadratim 11 ka . su . 2.1.63. 77. svena bhavajanane sa tu priyam bahumulakucanabhicumbanaih | nirmame ratarahah samapanasarmasara samasamvibhaginim || naisa . 18.166 78. viksyabhavamadhigantumutsukam purvamacchamanikuttime mrdum | ko yamityudita sambhramikrtam svanubimbamadarsataisatam || naisa . 18.114.

1 117 i speed of orgasm of Damayanti and enters detumescence with her at the same time. These examples show that the poet has studied Kamasutra and other erotic texts minutely. Vatsyayana further narrates the four types of love, viz. love acquired by continual habit, love resulting from imagination, love resulting from belief and love resulting 79 from the perception of external objects. } Thus the first chapter of this second adhikarana has greatly impressed the poets. In describing the physical beauty of males and females poets have taken the help of Kamasutra. 79. abhyasadabhimanasca tatha sampratyayadapi | visayebhyasca tvatantrajnah pritimahuscaturvidham || ka . su . 2.1.72-