Chapter 2.4 - Eight types of Nail-prints

Vatsyayana states that when love becomes intense, pressing with mails or scratching the body with them is 1 practised. And the places that are to be pressed with nails are- the arm-pit, the throat, the breasts, the hips, 2 the back and the thighs. Suvarnanabha opines that when the impetuosity of passion is excessive, then the places 3 need not be considered. The Ratirahasya gives the same places but adds three more places viz., the shoulders, the flanks and between the breasts. The Anangaranga 4 5 Sanskrit poets, gives one more place i.e. the cheeks. who have studied erotic texts in detail, have given abundant illustrations of nail scratches on various limbs. The popular place for the nail prints is the breasts. Magha describes it in this way- "The lovers made nail-scars 1. ragavrddhi samgharsatmakam nakhavilekhanam | ka . su . 2.4.1. 2. kaksau stanau galah prstham jaghanamuru ca sthanani | ka .. 2.4.5. 3. pravrttaraticakranam na sthanamasthanam va vidyata iti suvarnanabhah | ka . su . 2.4.6. 4. kacakaroru jaghanastanapasrvaprstha hrtkandharasu nakharah ....| rati . 8.1. 5. grivakarorujaghanastanamprsthakaksa hrtparsvagandavisaye nakharah kharah syuh | anamga . 9.22.

149 on the hard breasts of their beloveds with nails which are .6 soft due to sweating. The poet depicts the same idea in other words thus- "A slender waisted woman delighted for a moment the young people by showing her big breasts and arm-pits which are marked by nails when she threw her blouse which was wet due to sweating and which was clinging to her body. In both the above contexts Magha has referred to the nail-scars on breasts. 7 Sriharsa depicts this type of nail-mark ever and anon. He describes Damayanti thus- "Ever looking at the playful nallmarks left by her lover on her breasts, she cast a look at her smiling consort; the corners of her eyes shrinking with a gentle wrath. 8 In another context the poet draws another picture thus- with Palasa blossoms in the form of finger nails, he worshipped the breasts of his bride which had a blue and red hue which embellished with musk and suffron and which grew up spontaneously 6. kaminama sakalani vibhugnaih svedavarimrdubhih karajagraih akriyanta kathinesu kathamcitkaminikucatatesu padani || sisu . 10.57. 7. prasvedavari savisesavisaktamage kurpasaka tanakhaksatamutksiyanti avirbhavadvana payodharabahumala satodari yuvadrsam ksanamutnavo'bhut || sisu . 5.23. 8. viksya viksya karajasya vibhramam preyasarjitamurojayoriyam | kantamaicata hasasprsam kiyatkopakucitavilocana cala || naisa . 18.130.

9 on his beloved's bosom. On other occasion Nala, who was interested in squeezing the breasts of his beloved, says- "Look her breasts stole the beauty of an elephant's temples. The marks left by the driver's goad can be clearly traced on them. being a king."10 Should I not then punish them In these illustrations SrIharga has shown that he has trodden the path of Vatsyayana in describing the nail-prints. 149 Ratnakara, at the time of the description of gathering flowers, pictures a lover whose mind becomes fickle, having seen the breasts of his beloved which are marked by nails, 11 when her upper garment dropped down. The poet describes the coition and narrates that the pitcher like breasts of women looked beautiful by the marks of the nails of their 12 lovers. The Madhuravijaya gives another type of description 9. yaukuramada kujhkumancitau nilalohitarucau vadhukucau | sapriyorati tayoh svayambhuvoracacara nakhakimsuka ाrcanam || naisa . 18.101. 10. sunipada sucinha sriscorita kumbhikumbhayoh | Ja pasyaistasyah kucabhyam tannrpastau pidayani na || naisa 20.58. 11. vistraste tridasapuramdhiruttariye pasyanti dayitanayatam stanagre | camyala navahitacittavrtti yanti || hara . 17.12. 12. kucakalasatatesu kamininam dayitanakhaksata * rajayovirejuh | hara . 27.54. sriyamadadhana piparaih stanagraih saramanakhaksatarajibhistarunyah | hara . 27.58.

150 in this way- The breasts of his (Kampana) ladies warm with blossoming youthfulness drove away the cold of the season, when the king cast longing looks on them. They were very attractive also in their semi-covered state with marks of nail scratches and without the strings of pearls on 13 them. Bilhana draws the picture of a lady who was revealing on her chest nail-scratches like tender foliage, having the beauty of cupid's ornament and thereby indicated her capability of bearing the crushing effect of amorous pleasure. 14 The poet in the Caurapancasika recalls thus- "When I was well nigh mad to sip the sweet wine from her lips, I pressed my nails deep on her round breasts, which brought thrills all over her body and while keeping awake 15 and trying to defend herself, she looked on. Radha in the Gita-Govinda, says that he (Krsna ) used to write with 16 his nails on her big breasts. Jayadeva describes Radha 13. vikalaka - cuka laksya navanam vigatamauktika haramanoharam | tarunimisma nakhampacamamgana stanayugam himahari vibhorabhut || madhura . 5. 61. 14. urasimanasijavatamsalila samucita komalapallavanukaram | nakhalipimapara prakasayanti suratavimarda sahatvamacacakse || vikramamka . 6. 16. 15. adyapi tam nakhapadam stanamandale yadvattam mayasyamadhupana vimohitena | ubhinnaromapulakairbahubhih samantajjagarti raksati vilokayati smarami || 16. nakhalipi ghanastanabharam || gita . 2.6. pr . 47. caura . 35.

151 who was leaving her bed in the morning, with many epithets among which one is there are many nail marks on her bosom. Thus the poet Jayadeva, though a devotee of Lord Krsna, has not hesitated to describe the amorous amusements of his Lord. 17 5 Hips are another important place for nail-prints. Magha pictures this idea in an attractive manner thus- "When the golden belt of the passionate woman fell down various nail marks which were on her hips looked like a 18 girdle." Ratnakara in the Haravijaya narrates- "When she was embraced by her lover tightly, he made nail marks 19 on her hips. Damodaragupta describes a whore named Kerall as- "She might have been enjoyed by a southern man, because her hips are full of nail prints, hence she walks with difficulty. 20. In the Raghuvansa, one prince who has arrived to attend the svayamvara of Indumati expresses i 17. tasyah patalapanija kitamuro 1 | gita . 12.5. pr . 1640 18. yositah patitakancanaka pancau mohanatirabhasena nitambe | mekhaleva paritah sma vicitra rajatenavanakhaksatalaksmih || sisu . 10.85. 19. aligita sarabhasam dayitena prstha vinyastasandranakhapatipada tadanim || hara . 27.41. 20. akarsanti jaghanam vrajasi yatha vilikhita nakhaistilasah | manye tayopabhukta kerala kenapi daksinatyeva || kuttani 402. }

} the same idea indirectly to show that he is well-versed 21 in sexology. 152 22 Nail-scars on laps show the intense zeal of lovers. They add fuel to the flame of love. Accordingly, Kalidasa describes Siva thus- "His eyes being captivated at that moment by the series of nail marks at the root of her thighs, Siva prevented his beloved, as she was tying up her garment, which had become very loose. Kalidasa refers to nail marks on Claps in the Raghuvansa also, where he describes Agnivarna, the last king of solar dynasty. He was hering the music of lute which was played by a female who had placed the lute on her thighs which were marked by nail-prints. Magha depicts this idea in a dazzling style. The lovers, who wanted to touch the laps of beloveds, printed their nails like a line on the thighs which were tender and which were like plantain 24 pillar. Sriharsa presumes nail-marks in another manner. 23 21. vilasinivibhramadantapatram panduram ke takabarhamanyah | priya nitambocitasamnivesah vipatayamasa yuva nakhagraih || raghu . 6.17. 22. urumulanakhanarajibhistatksanam hrto vilocano harah | vasasah prasithitasya samyamam kurvatim priyatamamavarayat || kumara • 8.87. 23. venuna dasanapiditadhara vinaya nakhapada kitauravah | silpakarya ubhayena vejitastam vijimhanayana vyalobhayan || raghu . 19.55. 24. cakureva lalanorusa rajih sparsalobhavasalolaka ranam | kaminamanibhrtanyapi rambhastambhakomalatalesu nakhani || sisu . 10.66.

153 He describes thus- "Damayantl's thighs shone forth with the gentle nail-marks made by Nala, as if they were two golden triumphant pillars of cupid and Rati with their "25 panegyric engraved on them. A lover gets great pleasure to glance at nail marks created by him. Such a description is given by Gangadevi- "The king was delighted to look at his beloved ones as they emerged out of the lake, with nail marks on their persons distinctly visible on their thighs, revealed through the dripping cover of wet clothing and water particles bristling on their long braids 26 of hair. Arms as well as armpits are also appropriate places for nail-scars. Generally the nail-scratches on armpits are referred to by the poets at the time of the description of plucking and gathering of flowers, as they appear at that time clearly. Magha sketches a heroine thus- "A woman, before her lover, at the time of gathering the flowers, covers her arm-pit which was decked by the nail-prints, with her upper garment, under the pretext of hiding her 25. bhimajoruyugalam nalarpitaih panijasya mrdubhih padairbabhau | tatprasasti ratikamayorjayastambhayugmamivasatakumbhajam || naisa . 18.98. 26. sphutanakharada namgamamgananam parigalada dukuladarsitoru | vapuranukalamaicataksitisi jalakanadanturadirghakuntalagram || madhura . 6.67.

fleshy breasts. 27 Ratnakara depicts the women who felt pain due to nail-prints when they raised their hands to 28 pluck the flowers. Bilhana pictures an angry wife of the king, who unaffected even by the desire of plucking flowers, became attentive to see the nail marks in the 29 arm-pits of many women. Thus, the references to the nail prints on armpits are related mainly to the plucking and gathering of flowers. 15% Cheeks are also suitable and visible places for nail-prints. Hence Magha mentions that the pictures drawn on the cheeks vanished in sex-sport and new nailprints appeared there. Ratnakara refers to those nail prints thus- "The red curved nail prints done by the lovers adorned the cheeks of women. 31. Yayati in the Yayaticaritam describes Sarmistha in this way- "How could 27. priyamabhiku sumo ghatasya bahornavanakhamandana caru mulamanya | muharitaraka rahitena pinastanatatarodhi tirodadhem sukena | sisu . 7.32. 28. mulasthapriyanakhamandanasya baho- utpatpratiyuvatim vidunayantyah | hara . 17.53. 29. manapriya kapi nrpatyapatni sprsta na puspoccayava, chyapi | aneka narijanabahumula nakhaksataveksana tatpara'bhut || vikramamka . 10.51. 30. prapyate sma gatacitraka citrascitramardanakhalaksma kapolaih | sisu . 10.78. 31. preyo nakhaksatapadani kapolabhitti bhagesu tamrakutilani nitambininam | hara . 27.46,

155 the beautiful one be not the mark of special attention, as she bears a face where there are nail marks on the cheeks, where the lips are devoid of Alaktaka paint due to kissing, 32 the eyes are reddened for want of sleep. Thus there are many examples which illustrate the nail marks on cheeks. #33 Nail marks on different limbs are described by the poets variously. In the Spigaratilaka Bhana, the dramatist says through a Vita that- "The new nail prints on the neck, the teeth mark on lower lip, the breasts which have lost its sandal express that your body has faced some danger. Here we see that nail-print is marked on the neck, according to the words of Vatsyayana, Magha says - "The nail marks scratched on navel and the wounds done by teeth, are telling about the amorous acts enjoyed by the lovers in secret, though they have no mouth. In this description, 34 32. dadhati kapolanakhalekhamananam paricumbanena niralaktakadharam | nayane ca jagarakasayite tatha sudati gamisyati katham na laksyatam || 33. navanakhapada ramyakanthamula ravapadadanturitadharapravalam | yayati .5.7. ramanalulitacandanastanagram kimapi grnati vapustavapada nam || cam . ti . ma . 34. nayapadravalinabhi sandhibhagesu laksyah ksatisu ca dasananamanaya sasesah | api rahasi krtanam vagvihino'pi jatah suratavilasitanam varnako varnako'sau || sisu . 11. 29. -142 •

$ 156 we see that nail marks were done on the navel. According to the opinion of Suvarnanabha, 35 many poets have sketched the nail prints on the body when they described the sexsport. These nail-prints give room for suspicion to the beloveds regarding their lovers. Hence Radha in the Gita Govinda, shows her anger to Lord Krsna who arrives to meet Radha in the morning, with these words- "Your body is bearing the wounds of nails that are due to sexual sport. Those nail-marks are appearing like a written victory letter of God of love with gold letters on black marble. 36 Nail-prints create mis-understanding between the lovers. Such an event is narrated by a hero in the Amarusataka thus- "As the fair girl intoxicated with sweet wine, saw the nail-mark inflicted by herself, she was filled with jealousy and rashly set out to go, and I held her back by the hem of her garment with the words- 'whither dost thou go'?. She turned round, her eyes were filled with tears and her lips were quivering with anger and she spoke- 'Leave me, leave me.' 0; who would ever #37 forget it. Thus nail-prints are described variously 35. Supra Fn.3, p. 36° vapuranuharati tava smarasamgarakharanakharacatarekham | marakatasaka laka litakaladhautaliperiva ratijayalekham || gita . 8.3. pr . 118. 37. svamdrstva karajaksatam madhumadasiba vicaryairghyaya gacchanti kava na gacchatiti vidhuta bala patante maya | grutgraga a aroqquar ar gay-afa ¤i kopaprasphuritadharam yadavadat tatkena vismata || amaru . 47.

by the poets. Even ascetics like Vadirajatirtha 38 have described the nail-prints which are an essential part of love-sport. 157 The Kamasutra states that there are eight types of 39 nail-scratches. The Pancasayaka also names eight types of nail-marks, but it adds sarismaraka instead of 'a tiger's The Anangaranga narrates only seven types of claw. 40 nail-scratches. 42 41 43 It leaves 'a tiger's claw.' The Ratirahasya mentions the same seven types of nail-scratches stated by the Anangaranga. The Nagarasarvasva gives all the eight types which are defined by the Kamasutra. Some of these types are pictured by the poets directly and indirectly. 38. mucyamanakabaribharabandhah procyamanarasadatumukundah | prthyamana nakhala chnacandrah kathyamanaharivikramavrndah || rukmini . 9.2. 39. tadacchuritakamarthacandro mamdala rekha vyaghranavam mayurapadaka 40. 41. sasaplutaka mutpalapatraka miti rupato'srvikalpam | ka . sam . 2. 4. 4. churita - ardhendu mandala B - sasaka plutam rekha | mayurapadam paikajapatram - samsmarakam | pam . sa . 4. 50.56. - churitam - ardhacandram - mandalakam rekha - mayurapadam saplutam - utpalapatram | anamga . 9. 23.28. | 42. rati 8.3.6. 43. nagara . 22.105. +

159 Vatsyayana says that- the curved marks with nails, which is impressed on the neck and the breasts is called Kalyanamalla mentions the same. the 'half moon. 44 45 We see various examples of this type of nail marks in literature. sriharsa describes the king Nala who enters the harem of Damayanti thus- "The eyes of the king falling on the bosom of a woman, who was painting it, turned back at once, as if expelled by the crescent shaped nail marks on her breasts owing to their enmity with lovers for lorn. Here, sriharsa has used the word Ardhendu instead of Ardhacandra. The poet describes a female friend of Damayanti, on whose breast there was nail mark resembling the half moon in shape, which appeared as if like cupid 47 hiding for fear of Siva. Here the poet has used the word Ardhacandra clearly according to the tenets of love. The poet has expressed the same idea in other words also. "When Nala meets Damayanti in her harem, he utters his desire thus- On the table land of thy breasts, let my finger nail bring about a wonder viz., the rise of the 48 crescent moon. Marking nail prints is an art. It will 46 44. grivayam stanaprsthe ca klo nakhapadaniveso 'rdhacandrakah | ka . su . 2. 401 40 45. grivakule vanakhapraharo datto'rddhacandrakhya udirito'sau ! anamga . 9.25. 46. Jadu-rut gay faur guzugfbezigngaa | viyogivairatkucayornakha ikkai rathenduli lairgalahastitva || naisa . 6.25. 47. nava smarah kim harabhitigupte payodhare khalati kumbha eva | ityardhacandrabhanakhainacumbikudha makhi yatrasakhibhikhye || vaisa . 6.66. • 48. adhityakasu stanayostanotu te mamendulekhabhyudayadbhutam nakhah || naibam . 9. 117. 1

} 159 come to those who have studied sexology deeply. Therefore Sarasvati, the friend of Damayanti, Introduces the king of Kasi, at the time of the svayamvara with these wordsLet this king, well-versed in a hundred treatises on the art of love, adore thy breasts with secret nail-marks rivalling the digit of Siva's moon, tinged with the saffron 49 paint of Parvati's feet, when she is in ire. Thus sriharsa was influenced by the Kamasutra while composing the above verses. Ratnakara refers to this type of nail-prints in the description of the battle. Radha displays her envy 50 towards a gopika girl who was enjoyed by Lord Krsna, as her bosom which was decked by nail-prints like moon. 51 49. kamanusasanasate sutaramadhiti so yam raho nakhapadairmahatu stani te | rastadrija carana kudukumapakaraga samkirna samkara sasaikakalaikakaraih || naisa . 11. 122. 50. tiksnardhacandrasarada ritamahavaग़ laksmipayodharayugam karikumbhayugmam | uttungapivarama liptataramabhika klrptena sonarucisonita kudakumena || hara . 44.33. 51. ghatayati saghane kucayugagamane mrgamada rucirusite | manisaramamalam tarakapatalam nakhapadasasibhusite || gita . 7. 3. pr . 105.

160 Bilhana alludes to this idea through a king in this way- "O. irate one, while manifesting a few nail marks, do you assume the pride of impetuosity? The bodies of which ladies here are not prominently marked by nail-scars like half moon, which are allies of cupid's weapons leading to victory?" 52 Here Bilhana has remarked that nailprints on breasts like half-moon are common in love-sport. In the Rukminisavijaya, a lover tries to create a new Siva on the breast of his beloved by picturing a digit of moon through his nails. In this context also the poet Vadirajatirtha supports the motion stated in the Kamasutra, and describes it in an attractive manner. 53 The Kamasutra further says- "when a curved mark is made on the breast by means of five nails it is called 'the peacock's foot." When five marks with the nails are made close to one another near the nipple of the breast, it is called 'the jump of a hare. 454 These two 52. prakasayanti katicinnakhamkan kim candi candatvamadam bibharsi | kasamihananga jayastramitairna gatramuccitritamardhacandraih || vikramamka 12.28. 53. madhuniyukta bhujamgacayah stane rahasi nutnasivam racayanniva | nayapadendukalam vatanacyutim vitanute tanutejasi yositam || rukmini . 4. 42. 54. ecabhirapi nakhairlekha cucukabhimukhi mayurapadakam | ka . su . 2. 4. 19 stanacucuke samnikrstani pancanakhapadani sasaplutakam | ka . su . 2.4.20

161 wer 3 types of nail-prints are depicted by Ratnakara in the 55 Haravijaya. He has used the words mayurapadam and sasapluta in the same sense as used by Vatsyayana. Damodaragupta describes ketaki, a whore, who was enjoyed by a man who was well-versed in sexology because the point of biting appears on her lips, the line of jewels on her throat and the jump of hare on her breasts. Here also the poet as well as Vatsyayana have used the word sasaplutaka in the same sense. 56 At the end of this chapter, Vatsyayana convinces the importance of nail-prints in these words. The love of a woman, who sees the marks of nails on the private parts of her body, even though they are old and almost worn out, becomes again fresh and new. The same description is 55. dayitanakhacilekhanam vadhunam 57 visadamayurapadam sasaplutaikam | abhutamadanakananasya laksmi stanasikharidvayalabdhasamnivesam || hara . 27.70. 56. adhare binduh kanthe manimala stanayugesasaplutakam | tava sucayanti ketaki kusumayudhasastrapanditam ramanam || kuttani . 403. 57. nakhaksatani pasyantya gudhasthanesu yositah 1 cirotsrsta pyabhinava pritirbhavati pesala || ka . su . 2.4.27.

162 given by Kalidasa thus- "Parvati having seen the marks on her body, done by her lover at the time of love-sport, reflected in the mirror was abashed. Her intense love came out from her body in the form of horripilation, 58 Thus nail-prints give a new life to the love. They create freshness in the lovers. Vatsyayana concludes this chapter with these wordsNothing tends to increase love so much as the effects of 59 Nail marks are powermarking with the nails and biting. ful to attract the minds of lovers. They draw the hearts together like magnet. When Siva sees the nail-scratches, his mind becomes fickle. 60 Bilhana also narrates his experience thus- "I still remember that mark of deep nail-print on her thigh anointed with gold dust and sandle paste, the mark being seen, as she got up and I snatched her shining garment, the mark then being shyly covered by her hand as she walked away (from me'."61 58. priyena datte manidarpana sa sambhogacinham svavapurvibhavya | trapavati tatra ghananuragam romanca dambhena bahirbabhara || kumara .9.29. 59. nanyatpatutaram kincidasti ragavivardhanam | nakhadantasamutthanam karmanam gatayo yatha || ka . su . 2. 4. 31. 60. Supra Fn.22 p. 75 61. adyapi tatkanaka renu ghanorudesa nyastam smarami nakharaksatalaksma tasyah | akrstahemarucirambaramutthitaya mugitam gega a ant gu-cut: 11 ate. 15.

} 163 In this way we see that nail-prints which are detailed by the Kamasutra, are helpful to the poets for describing amorous activities. Various types of nail-prints have impressed the poets due to which they are tempted to use them to a large extent in their poems. Even the devotees like Jayadeva and ascestics like Vadirajatirtha have not become exceptions in describing the notion of nail-prints. From this we come to know the necessity of the knowledge of sexology for a poet. $