Conclusion of the second part of the Kamasutra

229 Conclusion females. The first adhyaya of the second adhikarana deals with the kinds of sexual union and types of the males and the The three types of men and women are the foundation for the description of various heroes and heroines in the literature. Vatsyayana divides males and females on the basis of the length and the depth of their organ. But successive erotic writers made the division of man and woman on the basis of physical beauty. The poets, whose minds were attracted by the physical charm mentioned by erotic writers, described the beauty of their heroines in various manner. Parvati in the Kumarasambhava, Damayanti in the Naisadhiya, Malavika in the Malavikagnimitra, Ratnavali in sriharsa's Ratnavali Yaksini in the Meghaduta etc. are the best examples to illustrate physical beauty of the heroines. The poets have coined many vocatives for ladies to exhibit their physical charm. The description of male characters like Dilipa in the Raghuvamsa, Nala in the Naisadhiya, Kampana in the Madhura vijaya, Candrapida and Vaisampayana in the Kadambari, is according to the erotic texts. The erotic texts discuss various types of sexual union on the basis of dimension, passion and time. Some of them have been described by Damodaragupta, Ratnakara and by sriharsa.

230 The second adhyaya discusses the embrace. The erotic writers have divided it into many types from which the poets have used Sprataka, Gadha, Viddhaka, Gadha, Viddhaka, Urupaguhana Latavestitaka, Vrksadhirudhaka and Apaviddhaka types of embraces in their works. · The third adhyaya, in which the idea of kiss has been discussed, has influenced all the poets. According to the erotic texts, the poets have depicted the kiss on lips, on eyes, on cheeks, on forehead, on throat, on bossom, on breasts, on thighs and interior of the mouth. Most of the poets have described the Nimitaka, Chattitaka, RagoddIpana, Jagara and Jivhayuddha types of kisses in detail. Description of nail-prints, which is discussed in the fourth adhyaya is seen in the literature in many places. Nail-scars on the body of the lovers have allowed the poets to imagine in different ways. We see the description of nail-scratches on throat, on breasts, on hips, on thighs etc. which are the proper places for it as said by erotic writers. The texts of sexology mention many types of nail-prints. Among them Ardhacandra, Rekha, Mayurapada, Sasapluta etc. are sketched by the poets.

231 The fifth adhyaya deals with the act of biting. The Kamasutra and other erotic texts have given many types of biting. The poets have made maximum use of them in describing the amorous activities. Especially Bindu, Bindumala, Manimala and Pravala types of bitings are described in many places. The sixth adhyaya narrates various types of coition. Many postures have been described by the erotic authors. But the Sanskrit poets have not shown keen interest in describing numerous types of sexual positions. The reason behind it may be that the vivid description of Love-sport will make their kavyas parnography. Yet some poets have ventured in depicting the sexual union suggestively. ► The seventh adhyaya explains various modes of striking and moaning. Squeezing the limbs, striking the body are described here in detail. Eight types of meaning as well as other words uttered due to tenderness are stated and all these matters are useful to the poets. Most of the poets have followed the Kamasutra blindly. Some poets have exhibited their knowledge of sexology by describing these acts. The eighth adhyaya depicts the importance and

232 necessity of reverse posture. Poets like Sriharsa, Bharavi, Bilhana and Jayadeva have shown keen interest in describing Purusavita. Poets have pictured it according to the words of sexology. This adhyaya further narrates the signs of satisfaction of a woman in love-sport. All the gestures which are narrated by Kamasastra are picturesquely sketched by the poets in their kavyas. Mouth congress or fellatio, though it is prohibited by Hindu religion, is discussed by Vatsyayana. He states which category of people will do it and explains it in detail. But the poets have not described this type of congress as it is forbidden by the religion and as it looks unaesthetic. The tenth and the last adhyaya instructs how to begin and how to end the sex-sport. Vatsyayana has not advised about it in detail as he discusses it in the Kanyavisrmbhana adhikarana with every step. This adhyaya also deals with love-quarrels which are more important for the dramatists than the poets. Well-known dramatists like Kalidasa and Sriharsa have sketched it in an attractive manner. The poets have also referred to gotraskhalana and padapatana, which are mentioned in this adhvaya.

Thus the second adhikarana has much influenced the classical Sanskrit poets. We see more influence on kavvas than on dramas, because the matters which were discussed here are related mainly to poetry i.e. Sravya kawya, Dramaturgy will not allow all these erotic acts on the stage. Hence the dramatists have not depicted kiss, embrace etc. in their dramas. But falling on the feet of the beloved is depicted by most of the dramatists. 233 The matters related to external and internal coition, are described by the poets as if they are going to illustrate the Kamasutra in their kavyas. Ornate poets like Bharavi, Magha, Sriharsa etc. have exhibited their knowledge of sexology by describing erotic amusements in many cantoes. Other poets like Bilhana, Pravarasena, Ratnakara, Anantabhatta, Amaruka, Gangadevi etc. have trodden the same path and they have followed the Kamasutra and other erotic works word by word. Jayadeva, who was an ardent devotee of Lorc Krspa, has not missed to depict the amorous amusements of his God with Radha. A. B. Keith opines thus- "Jayadeva depicts the perfection of the Indian beauty and transforms into poetry all the arts of the love which Kamasastra lays down. 44 Classical Sanskrit Literature, Y.M.C. A. Publishing House, Calcutta, 1947 (5 th Ed.) 3 ,,44

Appreciating Gitagovinda, H. R.Agrawala remarks that the description is so picturesque that the poet appears to be 45 transforming Kamasastra into poetry. 23% Vidyaranya, the author of Sankara Digvijaya, Vadirajatirtha, the author of Rukminisavijaya, Nayacandrasuri, the author of Hammirakavya were ascetics. But they never missed to describe erotic situations in their kavyas. Thus all the poets were compelled to follow the sutras of Vatsyayana, to a smaller or greater extent. In this way, we can say that there is hardly a poet in Sanskrit literature who is not influenced by this adhikarana of the Kamasutra. 45. A short history of Sanskrit Literature, Oriental Publishers and Booksellers, Delhi, 1963, p.194.