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M3.0 33
RATI RAHASYA

I
Great Sanskrit Classics on Love

Translated by S. C. Upadhyaya, m.a., ll.b., d.l.» Ph.D,

KAMA SUTRA OF VATSYAYANA

ANANGA RANGA
THE HINDU SECRETS OF LOVE
43033

RATI
RAHASYA
OF PANDIT KOKKOKA
Translated from the Original Sanskrit by

S. C. UPADHYAYA
M.A., IX.B,, D.L., Pli.D,
A-giUHr Of XoKa Suttir

Foreword by
V. R A G H A V A N, M.A., ph.D,
FrvftPm of Smskfit, Uotvctifeiy of Kidn*.
KodOtur Mcmbcf^ Ecok FfAucdi dTHtaw^-Oricni
#i3dllw AiiFOilai Acudcmy ofS^hae^i

I 4 Plates in Colour, 75 Half-tone Illustrations

and 10 Line Drawings

D. B. TARAPOREVALA SONS & CO. PRIVATE LTD,

Treasure House of Books

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Copyright© 1965 D. B. TARAPOREVALA SONS & CO. PRIVATE LTD.

First Edition

PRINTED IN INDIA

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Aoo. ...
Date.
OiUlNo.
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Th^ ink o/this book (s strictly restricted to members of the medieai aiid
le^i professitmir scholars and research sttalmts of btdohiy^
psychoiofy ond the social sciences

(G—HSSD)

Publishni by Jal H. D. Tarapemevak, for D. B. Tamporicvala Sons & Co, F^valc Ltjd,p 2iB Dr. D, Nucurajl Boad,
Bombay^ 1* end Prinifid by D, T>, KurkQCia, at Leaders Ptiess E’nvaie Ltd,, Mazasaort,^ Bonibay-lO,
 FOREWORD

Dr. S. C. Upadhyaya and his work on the Indian art and science of love
need no introduction. He brought out for the same publishers^ some time back,
a translation of Valsyayana’s KamasutraSy with an introductory study of the sub¬
ject and a large number of illustrations, particularly from Indian sculpture. The
present publication of his on tlie Jtatirahasya is, in the nature of things, shorter
and it is his desire, and that of his publishers, that 1 should introduce it 1 gladly
do so.

The ancient Indian mind had a flair for the free pursuit of any branch of know¬
ledge. It suffered from no prudery in evincing keen interest in matters of sex,
in frank expression when dealing with it or in academic irivestigations of its character
and manifestations. In the Fgveda, every aspect of it, virtuous and otherwise,
finds mention. In the Atharvaveda, charms and herbs to be used in love-affairs
arc to be met with often. The Upanishads describe the sexual act as a sacrificial
act (Putra-mantha) (Chandogya V.3,8 ; and Brhadaranyaka VI. 2; 4.3-4,12), with
the details of the metaphor fully worked out and in this connection mention the
Paficala country and Aruneya Svetaketu both of which names are later attested
as closely connected with the development of the Kama Sastra. In the same
context in the latter mentioned Upanishad, preyogflj for achieving certain ends
in respect of sex arc also set forth. Of the two epics, the Mahiibharata, which
calls itself a Kama ^astra as much as a ^astra of the other three Punisfidrthas^
contains some remarkable material, particularly in the discourses of BhTshma
in the Auu^sanaparvan, of which one topic which is very striking must be men¬
tioned. In Chapter 34 of the AnuSasana (Kumbhakonam cdn.) the question is
boldly raised ; in the sexual act, who gets the better or greater happiness, the
male or the female ? The story is told of Indra and King Bhangasvana, and of
the latter changing his sex and Incoming a woman, enjoying and begetting children
and in the end, refusing to change over to manhood as he (or she?) declares that
the sexual joy of a w'oman is superior. Earlier, in the Vanaparvan (ch. 234,
Kumbhakonam edn.), we have a glimpse of the Aupanishadika section, of use
of drugs for enticing, which is part and parcel of Kama Sastra. In the meeting
of Satyabhama and Draupadi when the latter and her five husbands, the Pandavas,
are in the forest, Satyabhama asks Draupadi how she is able to achieve thcdilficult
task of keeping all the five Paindavas pleased with her, whether she uses any charm
or drug (Vidya or Mula). The latter replies that all her charm and drug consists
of her character, conduct and vigilant service. The epics, as also the Dharma
iastra, presented the ideal of the four aims or aspirations of life, Ptirushdrthas^
of which Kama was one, thus giving desire and enjoyment a legitimate place in
life. The primacy of the householder’s life (Grhasthasrama), the merit of progeny,
and the idea that one should not starve one*s heart were held up before man and
woman. The Kama ^astra texts have conimon groimd with Dharma Sastra in
the section devoted to the wedded life, Bhdryddhikarana, and they have common
groimd with Vaidya Sastra in the sections dealing with medicinal recipes.

The study of Kama Sastra, in its practical form in poetry and drama or
as theory as set forth in Kama iS^stra works, was deemed part of education. A
 vi FOREWORD

considerable literature developed and including the UpanishadEc sage ^vetaketii,

a number of pioneering writers of this branch of knowledge and their works are
remembered by Vatsyayana.

In the available literature on Kama Sastra in Sanskrit, the Ratirahasya is

next m importance only to the Sutras of Vatsyayana, In fact, it may be said to
have gained greater popularity than even the Sutras^ because of its concise treat¬
ment. Indeed, in many Indian languages, the name of its author Koka or Kokkoka
has become a synonym of the subject itself, Kama Saslra. The popularity of
Kokkoka is borne out also by the fa^t that the text was translated into Persian.
Just as in the history of the Natya SiLstra, with which Kama Siistra has much
conunon ground, the appearance of Bharata’s text threw into oblivion earlier
texts, and the pre-Bharata and non-Bharata traditions had to be collected and
presented by some later writers like Dattila, Kohala, Matatiga, Rnhula, KTrtidhara
etc., m the history of Kilma Sastra also, the contributions of pre-V»tsyayana
writers or the founders of this branch of knowledge and the traditions outside
of what are recorded by Vatsyayana have to be gathered by a study of the later
works in this field. The foremost of these later works to preserve these non-
Vatsyayana material and to give us a glimpse of the works that existed in this
branch is the Ratir^asya of Kokkoka. The aim of Kokkoka is not merely to
give us a compendium of the subject, but to bring into prominence the ideas of
writera other than Vatsyayana, Thus of the primary set of writers, Nandikesvara
and Gonikaputra arc especially mentioned by him at the outset and Vatsyayana
IS given a second place.

Taira prathamam T^andikeivara-Gonikaputravor matam ddvam sam&raht-

skydmah ; parato Vutsydyanlyam.

writ^, the most noteworthy and interesting source

which Kokkoka draws upon is the Cumpatdkd,

tr 11 the Introduction, the translator has dealt with the predecessors used by
Kokkoka. Regarding the Guuapatdkdr^ the most striking of the works used by
Kokkoka, attention may be drawn to my paper in which its character as a Kama
Sastra work was first clarified and which had escaped the notice of the translator
iJndianJlistoncal Quarterly XVIIl. pp. 166-7). There is no doubt that the work
took the form of teachings by Mnladeva to the courtezan Gunapataka, but we
cannot be sure if the author of this text is also Muladeva. MQladeva, famed
exj>er£ in this lore in Sanskrit literntiire^ would naturally be an appropriate inter-
^ He was of course the most brilliant embodiment of
this Sastra and intrepid exponent of its teachings but there is no need for suggest-
It tfR'islator does, that the word Mulakarman as meaning magic or the
art of enUemg is derived from Mfiladeva ; the word Mufa in Mulakarman
refep to rood and drugs and it is no fault of the Jayamangafd that it does not
relate it to Muladeva. At the beginning of Ch. 14, which deals with recipes for
enticing or increasing one s attraction, Kokkoka refers to a vaiiety of sources
worlp on erotics, lexicon, tantsas and agamas and medical works. In the midst
of these sources occurs the expr^sion *yogavalTnam Satam\ The translator sees
here reference to the Yogo^ataka of Haribhadra Suri (A.D, 694-774) ‘Yoga*
 FOREWORD vii

in this chapter refers to a recipe, medicinal preparation and appDcation of it and

has nothing to do with the Yoga ^stra wmch Pataiijali dealt with and which is
the subject-matter of the Jain writer Haribhadra^s Yogadataka.

On the date of the Ratirahasya, the translator has adduced evidences to

show that the work was written between A.D. 830 and 960. The upper limit is
furnished by the flaramekhald which Kokkoka draws upon and the lower by
Sojnadevasfiri. The translator points out that the last mentioned Jain writer’s
Nitivdkydinrta refers to Koka. In a note on the date of the Ratirahasya in the
Indian Historical Quarterly (XIX. pp, 72-73), I had pointed out that there was a
possible reference by Slcsha to Ratirahasya in Somadeva's Yasastifakacampu itself
which was dated in A.D. 959. As the editor of the Ratirahasya (Banaras) with
Kdneinatha's commentary points out in his Sanskrit Introduction (p. 3), the Rati¬
rahasya is quoted in the Jayamaiigald on Vatsyayana and the latter, as I have shown^
is known to Bhoja (1010-1062 a.d.). Regarding the upper limit, the translator,
like some others, takes the Haramekhaid as composed in A.D. 831, in the reign of
IGng Dharanlvaraha. The date 887 mentioned in the Haramekhaid is taken by
D. R. Bhandarkar as Saka (Summaries of Inscriptions 94 andfns. 123,312; p. 398,
Indian Antiquary XL p. 239;, which would be A.D. 965. At any rate the tower
liniit of the date of the Ratirahasya is not as late as that adopted by Keith, 1200
A.D. (HSL. p. 469).

The text of the Ratirahasya as available in the edition with Kancinatha’s

commentary lias been considered by the translator in the Introduction. Showing
a number of passages quoted by well-known writers from the Ratirahasya but
which are not found in tlie ]3rinted text of the work, the translator has pointed out
the need for a critical edition. Elsewhere, in the course of his translation, he
draws attention to some contexts where he has noted differences between the text
and the gloss of KancTnatha. Some of these are not cases of the commentator
having gone wrong or said something not in the text, but simply instances of the
divergent readings which Kancinatha followed. Even the last verse setting forth
the author’s pedigree is not free from corruption or ambiguity. There is a clear
need foi a critical edition of this work, which is one of the most popular works in
Sansl^t literature. There are sufficient number of manuscripts from different
parts of the country for undertaking such an edition.

The personality of the author of the Ratirahasya, no less than his name, is in¬
triguing. In the concluding verse, he tells us of his ancestry and we see here a
few names, of which again nothing more is known. In the colophon, the author
is given an epithet which is road variously in the manuscripts, Siddha-pathlya,^
Simhala-pataliya.* Siddha-pataliya,® and Silpavikirya,* the last being the most
aberrant form. None of these convey anything to us about the author and the
place or school or anything else to which he belonged. It is unlikely that ‘Simhala’

1 Ttidia Office, London, 1239, which itself has different forms of this word in the different
colophons, 1240.
* Madras Govemn-.ent Oriental Manuscripts Library, D. Nos. 3895, 3907, 15281.
* Bombay Bniiich Royal Asiatic Society, 146.
* Indian Office, London, 1239 ; Curator’s Office, Trivandrum, 1238,
viii FOREWORD

here is genuine enough for us to suggest anything interesting about Kokkoka’s

nativity. A manuscript in the Palace Library, Trivandrum, has the humble Sid-
dha-vatiya which sounds genuine and may refer to the author's place, Siddha-
vata or Siddhavata.
The translator has drawn attention in the Introduction to the topics which
are met with for the first time or specially notewoithy in Kokkoka’s text. In
dealing with the treatment of the topics of Kama Sastra, it is always necessary to
correlate them with general literature and their handling by the poets and play¬
wrights. The translator has done this to some extent in the Introduction here,
as well as in his earlier publication, the Kftnta Siitras. Sometimes the attempt at
such correlations or at seeking support from Kavyas may not be successful or
based on a correct understanding of the Kfivya, e.g. his relation of a poetic pas¬
sage in Kalid^'s Kujnfirasambhava (VIII. 19’) with the doctrine of Candrakala
or the erogenous zones and the lunar cycle.

It has often been observed by critics that Sanskrit technical treatises, and
indeed all scientific or even aesthetic analyses in Sanskrit, are too full of classifica¬
tions and names. This could not be avoided; analysis or explanation is called
vibhaga; break up is an integral part of clear understanding; the minute classi¬
fications are not to be taken as overdone, but as springing from the nature and
substance of the subj^t that is examined. The charge cannot be laid that the
wood has been lost sight of in the trees. In the present subject, Kama Sastra,
where the infinite variety of human nature is the wry material of study, the study
naturally takes the form of classifications and enumerations which arc but names
of the physical and psychological variations in men and women. Love’s manifes¬
tations also appear in myriad forms and they too lend themselves for similar
treatment. The tabular presentations such as those given by me in the Sntgdra-
manJariOT by Dr. Upadhyaya in his earlier Kama Sutras and the Aatfrahasya
now published will be helpful in understanding the differenLanaiyses of types of
characters etc. as dealt with in the different texts of Kama Sastra literature. The
glossary of technical terms with their meanings in English is another useful addition.
University of Madras, V. Raghavan
Madras-5
 CONTENTS
Page

FOREWORD V

ILLUSTRATIONS .. .* .. .* .. .. xiii

OPINIONS ON .. .. ..XV

INTRODUCTION.. !
A. Kokkoka and His Predecessors, i
B. The Authorship and Date of Jiali S
C. iCokkokn's CoDtribution to Indian Erotics, 10
D. Remarks on the Extant Text of Jiali Jiahasya, 11
E. ClassLBcation of Men, 12
F. Classiflca tion of Women, 14
C. Erogenous Zones, IS
H. Body Odour and Its EScct, 17

Chapter L THE CLASSIFICATION OF WOMEN . 2(J

Chapter U, EROGENOUS ZONES AND RELATED TOPICS. 25

CmaPTITr irr. CLASSinCATlON OF VARIOUS TYPES OF MEN AND WOMEN

AND THEIR RESPECTIVE UNIONS . ,, 28
A. Classification According to Jail or Physical Characteristics, 28

ClIAPTBi IV. GENERAL CHARACTERISTICS . 37

B< Classification According to Avasiha or Age, 37
C. Characteristics of Women According to Pfskrhl or Body Humours, 37
D. Classification According to Saitva or Character Traits, 39

Chapter V, PROVINCIAL CHARACTERISTICS AND CUSTOMS .. .. .. 43

Chapter VI. EMBRACING . 47

CitAPTBR VH. KISSING -. .. - 49

Chapter VIU, MAKING NAH^MARKS .. 51

Chapter IX MAKING TEETH MARKS . 53

Chapter X. POSTURES FOR CONGRESS.. .. .. 54

Twenty-six Uttana Asanas, 56

Two Tiryag Asanas, 58
\k
X CONTENTS

Three Sthila Ratos, 58

Four Chitra Ratos, 58
Many Vymata Ratos, 59
Signs of Sexual SatisTacdoa or the Want of It, 59
Three Purusfiajrita Ratos, 60
AnguH Rota, 60
Four Tadiotas or Ways of Striking, 6t
Eight Varieties of 'St Si' Sounds, 61

Chapter XI, CREAHNO CONFIDENCE IN A MAIDEN . 63

Post-Nuptial Conduct for Three Days, 64
Conduct with a Britle Who is Well-acquainted, 64
Manipulation by Hand, 65

Chapter XlL THE CONDUCT OF THE DEVOTED WIFE . 66

Chapter XIII* RELATIONS WITH THE WIVES OF OTHER MEN .. 69

The Ten States, 69
Women Who Should not be Approached, 69
Reasons Prompting a Man to Adultery, 70
Women's PromUcuily and Its Causes, 71
Removal of the Causes, 72
Men Who Are Successful with Women, 72
Women Who Are Easily Seduced, 73
Anatomical Characteristics of Women of Low Morals, 74
Summary, 74
Ways and Means of Getting Acquainted with a Woman, 75
Places Unsuitable for Cburting Women, 77
Duties of a Female Messenger, 78
The Types of Female Messengers, SO
Women Most Suited to Become Messengers, 81

Chapter XtV, CHARMS AND OTHER RECIPES FOR ^ASN/KARANA AND MAKING
ONESELF ATTRACTIVE TO OTHERS .. 82
The 'Kameshwara' Mantra, 82

Chapter XV. APHRODISIACS AND OTHER SECRET RECIPES . 83

A. Ways and Means of Inducing Orgasm in a Woman, 88
B. For Increasing the Flow of Semeu, 89
C. Delaying the Flow of Semen, 90
D. Organic Improvement, 90
E. Removkig Orgaiuc Defects of Women, 92
F. Recipes for Contraction and Enlarging the Yoni, 91
G. Recipes for Depilation, 93
H. Recipes for Abortion, 94
L Recipes for Pregnancy, 94
J. Recipes for the Prevention of Abortion, 94
K* Recipes for Painless Delivery, 95
 CONTENTS
L. Recipes for the Remova] of Or^nic Faln« 95
M. Recipes for the Remova) of Foul Organic Odour, 96
N. Recipes for Contracting the Yoni after Delivery and Allay ing Pain from Swollen Breasts, 96
O. Body Odour and Its Prevcntiori. 96
P. Mouth Odour and Its Prevention, 97
Q- Redpes for the Improvement of One’s Voice, 97
R- Beauty Aids for Women, 97
S. Redpes for UpliRing Sagging Breasts, 9S
T. Recipes for Causing of Sexual Anaesthesia in Women and for Its Removal, 99
U. Recipes for Causing Impotence in a Man, 99
V. Recipes for Curing a Man’s Impotence, 99
W. Recipes for Engendering Enmity, 100
X. Recipes for Creating Friendship, 100
Y. Redpes Recommended by Nagaijuna, 100

APPENDIXES.
L ClassiGcation of Women According to ion', Etc., 104
[1. Classiiicntion of Women. According to Puriiiatia, I OS
IH. Classification of Women According to Body Humour, 110
IV. Ciassilicaiioa of Women According to Age, J12
V. Classification of Women According to Sattva^ 114
VI. Classification of Men According to Aroha, 116
VII. Erotic Zones, 118
Vm. Classification of Haias According to Franvtna., Ari/a and Ffgo, 119
IX. Classification of Favourable Titbis, Yaoior, Asanas., Etc., 120
X. Names of Fruits, Flowers. Hants, Trees, Etc.. Mentioned in Rati Rphasya. Used in the
Various Yogas such as Vaskikarma, Vajikartma, Etc., 121
XI. Two Illustrated Mss, of Rati Rahasya (By M. R. Majmudar, m.a., 123

GLOSSARY..

BIBLIOGRAPHY
L

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 ILLUSTRATIONS

COLOUR PIATES

Facing Fagc
A MftltaradhyBja from i Ms. of Rati Rahm^a .. ,, ^, ,, . ^* SS
Bl Nari-Kui^juL lUos^xii^Ctaprll.ycrx^fwm Rati Rahatjfa . ,, ,, ,, 92
BZ The rov^rse ofa fcLbiliusbHLinf ChAp, Verse 4 of fof/_ ,, .. ,, ,, ,, 96
C A fcniftk 5ffiire, position of Amfta-lcAla .. ** _ .. ,, lOO

MONOCHROME PLATES

Bervecn pages 16 ^sd 17

] General view of the temple of Vuhwofiftthai KJiAjoTAho

2 The smaJI temple of ICbajuiaiiD
J Smlplursd panels sbowing mithuiu figures from the Kandariya Mohodev tonpIcT Kh^urolio
4 A kiving couple. Detail from Ihc south ikle of the ParnsvansUm lemple, Rh^uruho
5 Detail of a gpd and goddess in an amorous pose from the FaiosiFimatlia teoipk, Kh^urotao
£ Exquisite scuJptuiie of a couple from the Luigamja templfip Bhubar^wur
7 Qose-up of the previous sculptui^ showing the c.Tpres$ive features of Ibc man and woman
B A pone] from the Brahnt^wora tempbp Bhuhan^war
9 Detail of a sculptured pand from the tineaiaja lenopICt Bhu baoeswe r
10 A panel from tls sculptures of Nagadurialcorida
1J Sculpiiire of a couple from the Rskk Rani temple* Bhubaoeswar
12, !l Graceful couples^ with msiningful smiles and graceful figures from the Raja Raoi tempicp Bhutmueswar

Betwem pages 24 and 25

14 Miihima figure from the Jagomohan of the Sun icmple at Konarak

15 fieautiftd sculptured Agures from the Biabmetwara letiiiple, Bhubaneswar
Ifi MiEhuoa figures from the museum at Konarak
17 Sculpture from the Sun templcp Konarak
IS Graceful figures from Hie Sm tempk, Konarak
19, 20 CfoscMjps of tho expressive features of couples In ]uvt» from the Lingaiaja temple^ Bhubaneswar
21 The fond embrace. Sculpture froui Khajuraho
22 SculpEuK of a loving coupk, from the tto^ Rani templei fihuhaneswar
23 BemuiLfuJ sculpture from the Sun tempk at Konarak
24 The Kiss. Sculpture from the Sun temple at Kooaiak
25 A lyrkal and graceful sculpture of a Icvini Couple, ffoin the Bhara iji ttmplc, Khajuraho
2^ Embracing figuies from the Devi lagdamba temple^ Khajuiaho

Brnma pages 40 and 41

27 The fond embrace. Sculpture from Vkshwanaiha templep Kh^urabo

2S Ciose-up of nnihuna fi|ures from the Lakdunatm temple, KhajuialKi
29 Sculptured panels from the Kandoriyi Mahadev temple. Khajuraho
30 Dclails of sculptured figures from Khqjurahc

Between pages 4^ and 49

11 The northrcentml panel of sculpEured figures from Vishwiuiatba temple^ Khojurabo

32 Mithuna figures from tbe Visbwanatha temple, Kbiyuraho
33 Close-up from a sculptured panel from the Sun temple^ Konarak
34 Detail of mithuna figures from Ihc Devi Jogdamba temple, Kbajuroho
XIV ILLUSTRATIONS
35 Eftibracin^ Cfivple from the sculptures of IQuijurabu
3^ eXoK-up of B couple ruDm the Son Eeinpk, Kouarak
37 A poiwl from ih^ Kandanya Mahadev icinplc, Khajuiaha

Seiwetn poffts S6 aitd 57

38 MithuiiB figum from Khajinalio

Panel of mithuna tigurts from the Kandaiiya Mahadev tempk^ IChojurali/O
40 MiOuina flgitres from the sculptures of LaJcshmacui templet Khdjuiaho
4] Oosc^up of an embridriE couple tram Kh^jumho
42 MithuEui couptc and Eemak muikiBii from tile Vahihanatha temple^ Rli^yu^ho
43 Side view of the bcButifuJ Sun temple at Konamk vath its sculptuied facade and huge wheels
44 Sculptured panels with couples and decorative designs from the ba!;e of the Sun temple^ KonaraJe
45» 4^ Amorous coupks from the Sun temple, Konnrak
47 Mithuna hgum fitmi the Sun temple, Konamk
43 Mithima couples from the Sun tempk, Konamk

firtd 63

49 Three sculptured panels Eroin Uv Sun temple. Kooarak

50 A Couple from the Sun temple^ ICodUrak
51 Graceful figures from the north face of the ia^mohan of the Sun temple, Konarak
52 Sculpture from the Sun temple^ Konarak
53 Mithuna hgurca from the south facade of the Jagamohan of the Sun temple. Konniak
54 Figuics from the Sun temple^ Konatak
55p 56, 5? Mithuna figures from the sculptured facade of the Sun tempk^ Konarak
53 A couple from the sculptures of Khajuraho

Jkmeen pa^ei wd 73

59 Figures from the Sun temple. Konarak

60, 61 Mithuna figures from the sculptured facade of the Sun temple. KorbOruk
62, 63 Loving couples from the sculptured facade of the Sun temple. Konarak
64 Three sculptured panels from the Sun temple, Konarak

Bftntca poffcJ SO wnf Si

65 Ornate sculptured panel of a couple from the Ukshmana temple. Khaiurabo

66 A couple from the sculptures of Khajuraho
67, 63 Mithuna panels of circular form froni the sculptured wheels of the Sun temple, Konarak
69 Sculpture from the Sun tentple. Konarak
70 One of the beautifully sculptured wheels of the Sun temple. Konarak* whkh was desimed to be in the
form of a chariot
71 A couple from the Pamsurarneswara temple, Bhubaneswar
72 Sculptured figures from the Dol Jagdaraba temple. Khajtiraho

pager 94 md 9S

73 Mithuna couple front the Raja Rani temple, Bhubajwwar

74 A couple from the Sun temple, Konarak
75 Beautiful sculptured panel from the Phrasuraineswara temple^ Bhubaneswar
 OPINIONS ON RATI RAHASYA
■The author of the Rati Itaftasya or ‘Secrets of Love' was a poet named Kukkoka He
composed his work to please oitc Venudutta, who was perhaps a King. When wridng his own name
at the end of each chapter he calls himself SidJhti pafiya pandita, j.e,, ingenjous man among learned
men. The work ^ translated into Hindi years ago. and in it the author's name was written as
o . And as the same name crept into all the translations into other languages in India the
^ok berame generally known, and the subject was popularly called K&ka Slutstm, or doctrines of
Koka, which IS Identical with the Kama Simtra,.., Some of the things treated of in this work are
not to be fo^d tit the Vatsyayana, such as the four classes of women, vix., the Padmioi. Chitrini
S^nkmi and Hastim, as also the enumeration of the days and hours on which the women of the
become subject to love. The author adds that he wrote these things from the opinion
of Gomkaputra and Nandikeshwara, both of whom arc mentioned by Vatsyayana, but their works
not flow extant/'
Stit Ri-cuard' Burton iq hJs Proiace to Kqriq Suifu of

^ *

“This learned treatise on erotics, Rati RiAasya was written by Pandit Kokkoka, in the 8th
century, during the reign of the celebrated Hindu emperor, Bhoja. In litdbn history, the era of the
scholar Emperor, Bhoja, has been aptly regarded as a most brilliant period in the history of Sanskrit
literature. At this time. Panchala or Kanauj, ruled by Raja Bhoja was the most powerful principality.
“The Rati Rtdwsya is generally known in India as Koka Sastra aRer the illustrious author
about whom the following tale is told:—

“A passionate woman, consumed with love, failing to find a proper person to gratify her
inordinate desire, could not contain herself; she threw off her garments and swore she would wander
over the W'ide world in the state of nature till she met with a worthy male. In this abnormal state
she entered the levcc-hall of Ring Bhoja, to the wonder and scandal of the courtiers present. Un¬
abashed she declared that as she found no manly person among the crowd, she had felt no shame in
appearing unclothed. The king and his courtiers remained stunned atxd dumb-founded. Pandit
Kokkoka who was attending on the monarch could not remain silent; he begged his king’s permission
to teach the woman a lesson.
'‘Kokkoka led her home and applied his effective technique so relentlessly on the incontment
woman that she became totally vanquished in the duel of love. Then the virile Pandit inserted gold
pins into her arms and legs, and brought her back before the king. In a chastened mood, she con¬
fessed her debacle and solemnly and decorously clothed and veiled hervelf. The king was naturally
very much intrigued and annious to know how the passion of thb voluptuous woman was quenched.
He asked Kokkoka to relate the story of his conquest. The teamed amorist composed the treatise
Rati Rahasyam some lime later for the edincatron of another prince Venudatta.’*

—“Kokkokam and Rati Rahasyam,"

Study of Hindu Erotici, Edited by Pjiof, T. N, Ray, si.a.

**Kokkoka*s (Circa 1300) is a well-kflowii metrical manual of Ars Amorjs, in

15 chapters. In writiog it, the author elains to have utilized not only the celebrated work of Vatsya-
AVi OPINIONS ON KATI RAHASYA
yana but abo oF aocicnt authorities, not extant today, like Nandikesvara and Comkaputra. It is
the speciality of Indians that they attempted a scientific analysis of the art of couttsfaip and love in
ail its aspects, and Kokkoka's work ably summarises the tradidona] material in easy-flowing and
sweet Sanskrit verses. {The commentary of Kancinatha is both lucid and readable.) The work will
appeal not only to Sanskrit specialists, but also to a wide general public interested in the worldly
aspect of ancient culture.**
—Dr. K. Kiushnamoorthy, Head of the Department of Sanskrit, Karaatak University.

m * * *

*The Rati Rahasyc of Koklcoka h a vciy impprtaat Sanskrit testl on the Science of Love, neitt
only to Vatsyayana's Katna Suira. It is very freely quoted in Indian literature. An EngLbih trans¬
lation of this work will be always appreciated^*

—Prof, G, H. Buatt, M,A.p Former Profes^r of Sanskrits Baroda CoUege;

Head of the Ramayana Depu* Oriental Institute, M. S, University^ Baroda^

^^This Sanskrit work is well recognised as a classic text on erotics and as such deserves being
made available in its authentic translation into modern popular languages, primarily^ for purposes
of comparative reference and information in sexological researches.*'

—Pkofh ViSHVA Director, Vishveshvarananda Vedie Research Institute,

P. O- Sadhu Mhram, Ho^hiarpur.

* « 4 *

Rasliya of Shri Kokkoka is a book of unique meriL It is a very happy supplement

to Kama Sutra of Vatsyuyana/'
— Da. S. BhattachafyAp Head of the Department of Sanskrit and Pali,
Banaras Hindu University^ Varanasi.

4 4 * *

"The Rati-Rahasya is an Interesting work on erotics, whkh attempts to expound the teaching
of Vatsyayana with the help of other Authorities. The work appears to have enjoyed popularity
as wch as authority around the cleveath century a.d. if not slightly earlier stiU, as citations from it
in Commentaries on Sanskrit poetical works would indicate.'^
—Prof. G, C. Jicala, Professor of Sanskrit, St. Xavier’s College, Bombay.

4**4

"The Rafirahasya of Kokkoka (also called Kakkoka» Kukkoka or dimply Koka) is a Sanskrit
work on Erotica. It is certainly older than 1200 a.d. and b considered a standard work on the subject.
"'The Ratirakasya is a work full of infonnatioji, geographical, medical, psychological,
and aims at making human life happy and successful. In its 15 Chapters or 549 verses, the author
has proved himself to be a master poet handling his material with grace and ease. Mis verses arc
wcU-knit and are in long and short literary metres which fully exhibit his command over the Language.
 OPINIONS ON RAH RAHASYA Xvii
In the long centuHe^ tli^t elapsed after its composition the R/itfrahasya proved to be a
feeding work for iuch btter compositions as the /ttuingarenga and odicrs. The author Kokkolta is
so famous on account of ifUs work that the science of Erotics is known as ‘Koka-sasirsi’ in local
languages/'
—Dr. V, W. Karambelkar, m.a., ph.o.,

"The Batirahasya is an important and wclMcnown work. Its edition by Dr. Upadhyaya wdl,
I am sure, be as excellent as that of his Kamasutra''
—Dr. V, V. Mirasmj, M.A., PH.1>,

“Pandit Kokkoka's Rati Rahasya is one of the oldest Sanskrit works on the philosophy of
love. It (dso gives a vivid account of the social behaviour underlying one of the strongest stimuli
of social dispositions. The relationship of the sexes has been described in a detached way against a
broad Cultural perspective. The treatment from the bcginiuiig to the end throws a significant light
on the psychology of sex and observable urges and reactions pertaining to tliis aspect of life. The
book is of considerable importance for alt those interested in the study of ancient Indian History,
Culture and Society/’
—Dr. Bjswa Nath Prasad. 5i.a., b.l., pu.c. (Lond,)

• • • ♦

"The Rati-Raimya is one of the classics on Erotics, next in importance to the I^nw>Sutm
only. Commentariw on classical Sanskrit Texts and works on Sanskrit Poetics quote at profusely
from the Rati-Rahasya as from the Aiima Sutm. For students of ancient Indian culture, this text is
indispensable. Its translation into English will be a valuable contribution.'’

—Dr. Aryendra Sharma. Head of the Sanskrit Department*

Osmania University, Hyderabad.

* • « •

"Rati Rahasya is a text famous in Sanskrit literature for several centuries, I am glad to know
that the translation of the text has been done by an mqiert like Dr. Upadhyaya/'

—Dr. B. J. Sahpesara. m,a. pH.d., Director. Oriental Institute, Baroda.

* * * m

"The Rati Rahasya of Kokkoka is a well-known Sanskrit classic, next in importance only
to the Kama Sutra of Vatsyayana. Its elegant diction and easy verse is perhaps easier to follow
than the technical language of the Sutra^ I am glad to learn of your proposal to bring out an illus¬
trated edition of this beautiful work with Dr. Upadhyaya's translation. 1 am sure it will receive a
warm welcome not only in India but in the other countries of the world/’

—Pr. K, a. Nilakanta Sastri, Director, Institute of Traditional Culture, Madras.

xviii OPINIONS ON RATI RAHASYA
^'Kokkoka's Eati Eahasya rai^ as a laodmark ia the lustoiy of the evolution of Indiaa Erotics
>.. > the author has drawn from several other works that supplemented Vauyayana's Kama Sutra.
However, he has not merely compiled from dilfercnt sources. He has woven the topics artistically
and £sven them lucid treatment and elegant exprcs»on. The work sheds ample light on the social
and cultural traits of young men and women in the difTerent re^ons of ancient India/*
—Prof. H. G. Shastiu, m.a., ph.d., Assih Director,
B. J. Institute of Learning St Research, Ahmedabad.

• • * •

“I have compared the Kama Sutra of Vatsyayana and the Jtaii Sahasya of Kokkoka. The
former is a complete work dealing with the whole science of love, whereas the latter deals with parti¬
cular aspects in more detail/'
—^Dr. H. D. SaNKaUa, Post-graduate & Research Institute, Deccan College, Poona.

• • • *

"Kokkolca’s Jtati Eahasya (popularly known as Koka Shastra; also designated as Kama Kelt
Rahasya), a significant work on the ars composed in 12th century A.D., occupies an important
position in the realm of ancient Indian literature on erotics and ranks only next to Vatsyayana's
Kanuisutra. With his scientific thoroughness, discriminating analysis, practical wisdom and psycho¬
logical understanding, he (ICokkoka) admirably expounds the important topics of the arcana of love
in elegant and lucid style. Not only he ably epitomizes the views of the earlier noteworthy croticiatu
tike Vatsyayana, Nandikeshvara, Conikaputra, Mahuka and Havana but he also, sometimes, diUcrs
from them in a brilliant manner ,..
“Written in 552 arbstic strophies, composed in di Rerent metres and divided into fifteen chapters.
Rati Rahasya elucidates almost every aspect of its subject; the well-kaowo fourfold classification of
females and their distinct characteristics, the ways and means of winning them over, the diflerent
erogenous zones, the classification of males and females, the twenty-seven types of union, females
of different provinces and their sexual characteristics, details of tumescence and detumescence, the
vivacious variety of postures, on acquiring a wife, use of agents for enticing other women, etc. The
prescription of diflerent Mantras and rites of enticing women helps us to understand the Tantric
practices as in vogue. The aphrodisiacs described in 130 stanzas in the last chapter reveal the pro¬
gress in Indian medicine.

“Its popularity can be inferred from the four well-known commentaries in Sanskrit written by
scholars like Kanchinatha and from its many adaptations and translations in both Indian Vemacubrs
and Muslim languages. To explain and justify the erotic expressions and suggestions occurring in
Jayadeva's Geet-Gaviitda and Kalidasa's works, the commentators quote Rati Rahasya considering
it as an authoritative text in its own realm.
*^Raii ^hasya, being a compendious work on Indian erotics written not only with metrical
felicity but with scientific thoroughness, intercstii^ and illuminating analysis, anatomical knowledge,
psychological understanding and with rationalism of a practical art, is both an useful and enlighten¬
ing work not only for the students of Indian erotics and ancient Indian culture but also for the
of psychology, sociology, medicines and comparative sexology."

—Dft. S. A. Upadhtaya, Professor of Sanskrit, Post-graduate and

Research Department in Sanskrit, Bharatiya Vidya Bhavan, Bombay.
 OPINIONS ON RATI RAHASYA XiX
Among the works on Kama Sutra and of those writteii in accordance with the Abma SutrUj
the Rati Rnhasya deserves to be mcfitiorted foremost. The author of this work is Kokkoka. *..

excels in snitabLe cxpressiDns and mailers and doubtless attracts the reader. For this
reasoiij probably^ this work has gained more popularity than ibe Kama Suira^ which it follows.

'The opinion of ancient Oriental schokra appe^ to be that Kama {Sensuous pleasure) m
conjunction with Dharma only is permissible....

“It therefore obtains that this Science of Sexual Love is intended not for the sake of passioot
but to enable men and women of all castes to discharge their household duties appropriately and t hat
those well-vcrwl in it will be able to lead their life conquering sensuous passions and in complete
harmony of the aim^ of life., _
‘^There is a peat need for works like the present one to be translated into other Languages
so as to entmnee thdr world-widc fame and to make known to the world, the iudisputabic Truth
that there is no branch of Science which is not dealt with by our ancient Rishis who were the real
‘seers'.
“That Dr. S, C. Upadhyaya, is quite competent to fulfil thb nced^ is evident from the high
distinctions he has so far attained in the study of Oriental Culture and M/s D. TaraporevaJa
Sons & Co. Prvi. Ltd., Bombay^ who encourage such efforts by lending their helping hand richly
deserve oui congratuLitionSi'*
By “Bhashapravecna'' P. B. S. Afpalach^hyulU, MpA
Principal, Govcrninent M. R. Sanskrit College* Vizianagram.
 ABBREVIATIONS

A.R.
G.G, Giia OoYtnda,
K,C. Kandarpachm&immi.
K.M. KuttimiJnata,
K.S. Kama Surra,
N.S. Nagiff^asarvasva^
P.S. Pancfiajayaka^
ItK,K. Patikstikuiukala.
R.M.(J). Ratimanjati,
R.R. Rati Rahasya^
R.R*P, Ratiratnapradipika.
S.D.(R), Smarodipika by Rudra.
Sr. D.{H). Shrittgamdipika bry Harihara-
Sr. M. Shringaramattjari by Sk, AJi Akbar Shah*
 INTRODUCTION
A. KOKKOKA AND HIS PREDECESSORS

The author of this work, Kokkoka, gratefully acknowledges the heavy

debt he owes to his learned predecessors* who wrote on the Science of Erotics,
sometimes by actual reference to their names and often to their works. He claims
to place before his readers the quintessence of all the writings on the subject that
had preceded him.
The author has used the generic term ‘muni’ or sage in referring to some
of his predecessors, and to identify them, we have to rely on the commentator
Kanchinatha. There are nine such references, of which four are not identified
even by Kanchinatha and the fifth is rather uncertainly mentioned.
The authors and their works referred to by Kokkoka, with their respective
identities, arc as follows:

(aj R.R. 1-9; M Nandikeshvarap

(fr) R.R. 1-9; 2-3. Gonikaputra..
(c) R.R. 6-8. Munmdra.
(<0 R R> 10-29. Miuubhib.
(e) R.R. 4-21. Kamisuta.
(fy R.R. 5-22. Muladeva.
(g) R.R. 4-3; 7, 23. Guiiapataka.
(A) R.R. 1-9; 3-] 7. Vaesyayana.
(0 R.R. 10, 13,14, MimL
(j) R.R. 11-18,19,22. Kama Sutra.
(it) R.R. 15-118. Nagaijuaa.
(0 R.R. 14-1. Sl^abd^ava.
(m) R.R. 14-1; 41. Haramekbala^
in) R.R. 14-1. Uddisha*
(0) R.R. 14-1. Yogavali.
ip) R.R, 6-11; 8-4. Mtinindra.
iq) R.R. 10-26; 14-39. Muaayah.

We shall now try to discover some facts about these authors and the works
on Erotics referred to by Kokkoka.

Ca) Nandikeshvara
Vatsyayana has mentioned that Nandi, the follower of Mahadeva, gleaned
from the mammoth work of Prajapali, that portion which deals with Erotics,
* R.R. i-s.
]
 2 RATI RAHASYA

and composed it into 1,000 chapters (viz,, the Kama Sutra). In this context,
the commentator Yashodhara tells us of the belief that it was while Mahadeva
was engaged in his amorous dalliance with Uma lasting for a thousand divine
years, that his attendant Nandi, waiting at the gate, composed the Kama
Sutra.*

(b) Cottikapuira
Vatsyayana refers to Gonikaputra as the author who condensed that
chapter of tht Kama Sutra that deals with ‘A Man’s Relations with the Wives
of Other Men’; for this, Gonikaputra drew his material from the abridgement
of the work by Babhravya, who was a native of the Panchala province,®

(c) Munindra
He has been identified with Gonardiya by Kanchinatha* in his commen¬
tary. Vatsyayana^ refers to Gonardiya as the person who summarised the chapter
on ‘The Position and Conduct of One’s Wife,’ from the abridgement of the Kama
Sutra by Babhravya, The names of both Gonikaputra and Gonardiya are men¬
tioned m the Mahabhasya,^ although Nagojibhatta pins down Gonikaputra as
the spokesman, and indeed there is some internal evidence to corroborate this
statement. However, we may say with Vatsyayana that two writers, named
Gonil^pufra and Gonardiya, detailed the chapters on ‘A Man’s Relations with
the Wives of Other Men’ and The Position and Conduct of One’s Wile’ respectively,
from Babhravy a’s abridgement o f the Kama Sutra,

(d) Munibhih
Presumably, this is the collective term for sages which Kanchinatha uses
in his commentary when he refers to ‘Gonikaputra and others.’’

(e) Karnisuta
It is traditionally believed in Vaijayanti, HaravalU and other lexicons that
Karmsuta was the son of Kami, and the same person as Muladeva.

(f & g) Muiadeva and the Work Entitled Gunapataka

Muladeva had many other pseudonyms with all of which his many dis¬
ciples were quite familiar. He also had many patrons who appreciated his pro¬
ficiency in the various arts. Mention may be made of a few of his pen-names:
* K.S. 1-8 and commeiitary, * K.S. 1-8-
* K.S. 1-16,
• Puri, fndia in the Time ofFaianJaU.jt. 16, n, 2.
* R.R, 6-8 and commentary. ’ R.R. 10-29 and commentary.
 INTRODUCTION 3

Mulabhadra
Kamisuca
Bhadra
Devadatta
These, in fact, have been mentioned in such well-known lexicons as Vaijayanti
(A.D. 1050) and Haravali (before A.D, 1159), both of which cite his name along¬
side his pen-names as the author of ‘The Art of Thieving/ Concotationaliy*
the name ‘Kamisuta’ implies that Kami was Muladeva^s mother, but we know
nothing about his father.
However, about bis own attainments we do know a good deal. He was
adept in the art of enticing women and the very personification of chicanery.
Crooks, cheats, miscreants and all kinds of rogues flocked to him for advice and
guidance in their nefarious activities. His two special friends were Vipuia and
Achala, and his adviser was named Shasha or Shashi. He held court at night,
usually brilliant with moonlight, attended by his followers, chief of whom was
one named Kandali, and his friends like Shashi. While addressing these followers
and admirers, he spoke from a resplendent dais.
As a result of his specialised learning, a large fortune accrued to him, and,
in fact, it became essential for every young man’s education to learn something
of these arts from Muladeva, Many fond parents left their sons in his care and
Kshemendra* gives an instance of a certain wealthy merchant, Hiranyagupta,
who entrusted his son Chaadragupta’s education to Muiadeva’s care.
Mutadeva’s fame spread far and wide in the course of time, and his name
came to be automatically linked with the amorous arts. It is precisely for this
reason that Vatsyayana" actually uses the derivative term ‘Mulakarma’ to describe
the art of enticing women.
Amarsinha, the famous lexicographer, also saw the connection, and used
*Mulakarma' as the synonym of‘Vashakiiya’ (the art of enticing) and ‘Karm-
mana’ (magic, witchcraft).
Also, Muladeva has been immortalised in Sanskrit classical literature
through these various references:
Subandhu'® while describing the Svayamvara of Vasavadatta refers to
him as Kalankura. Dandin*^ refers to the acts and the way of life of Kamisuta
Bana,^* in his Kadambari, while describing the Vindhya forest, refers to Kamisuta
*Kalavi{asa Sarg^, 1*
• K.S* 4-1-20T 21, 6-1-16^ 17| 6-2-36* Yashodhara in his caitj^eniaty Jayamartgah on these
Sutras perhaps could not grasp the meaning of Mala and that is why be has not the asso*
dation of the oame of Mula (deva) wi th !he$c acta.
Vasaradatta^ HalFs EditioOp p, 74, D^hukamarachanfa^ II* IlL
Kadamban\ Part F, para 17, Kaue^s notes, p. 56.
 4 RATI RAHASYA

and his fneads Vipula and Aghala and his adviser Shasha. Bhanuchandra, the
ramineiitator, further informs us that he was the propoundcr of the Science of
■meving and his group consisted of Vipula and Achal and Shasha acted as an

w t the author of Haranwkhala, composed in v.s. 887, refers to

Muladeva and the divine gift of yogic powers granted to him
_ Kokkoka’* refers to Muladeva when he describes the sexual characteristics
of the women of Utkala province.
Ksheniendra“ in many of his works mentions Muladeva and his nocturnal
gatherings.
Somadeva" in his Kathasaritsagara makes Muladeva the subject of a
s^iy, an goes so far as to describe him as the Prince of Rogues, whose chief
adviser was Shashi.
Shukasaptati also refers to Muladeva.
c commentary Jayamofiga/a on the Katna
Sutra refers to Muladeva while describing *Sangharsha’ or the competi¬
tion that took place between two courtesans named Devadatta and Anangasena
lor the love of Muladeva.
Jyotmsha (A.D. 1325)« mentions Muladeva in the introductory stanzas
of hjs Fartcmisayaka,
Now let us consider if Muladeva wrote anything incorporating his teach¬
ings for the benefit of his own pupils and others interested in these topics. To
be^n with, it can be concluded that from the very nature of his activities he was
well-known personally among courtesans. Indeed, we have on record a state-
mem by Yashodbara that two courtesans vied with each other for the affection
0 Muladeva. We can conjecture that he became deeply attached to one such
courtesan nam<^ Gunapataka whom he instructed and who eventually emerged
as an adept at his own Art, Muladeva titled one of his works after this courtesan.
^d It IS possible that he did so to perpetuate his own attachment for her as also
her life-long fidelity to him.
^ I have emboldened myself to put forth this theory of the authorship of
Gunapataka on the strength of the arguments that follow;
(0 Several writers have associated the name of Muladeva with the Art
of Love.

“ naramkhala, Ch. tU. 42. 52, R.R. V. 22.

1) Kalavilasa, I, 9, 21, 38; X 41. 2) S&maymuUflka, VI, 29.
3) Brihat Kathamiuijari, K, 929, 732, 756. 757. 762; X 270. 284. 4)
** f^iitasarltiiigara^ 89.
Keitfi, A Bist&ry of Sanskrit Uteratwe, p, 239
’* K,S. 6*l-t? and commeniaiy. “P.S. 1-3. * ■
 INTHODUCnON 5
(it) Harihara, in his commentary on Malatimadhava^^ actually refers to a
question addressed by a certain Gunapataka to Muladeva and his
answer to the query.
fuO A similar tradition has been recorded by Yashodhara®^ who mentions
that Dattaka was approached hy courtesans through their deputy,
Virasena, to guide and coach them in the Art of Love; and so Dattaka
composed the work on courtesans, especially for the guidance of the
courtesans of Pataliputra.
As regards the form of the work we have reason to believe, on the strength
of the quotation given by Harihara.®® that it was chiefly in the form of a dialogue
between the teacher and the pupil, and that occasionally this was interspersed
with a few prose passages and verses. The work Uddisha Tantra, which was
thoroughly studied by Kokkoka, is in exactly this form, and several later works
are also found to emulate this dialogue form.
It must be stated that the work Gunapataka has no Jink with the work
Guna Mala mentioned by Abhinavagupta (a.d, 900-1020) in his commentary
on Natyashastra, since the former is certainly not a lyrical play.®®
Actually, Gunapataka appears to be a composition dealing generally with
the Science of Erotics and, in particular, with the ways and means of attracting
other women and eloping with them. As mentioned earlier, we have strong
evidence m support of this presumption, and Kokkoka, the master of the Science
of Erotics, relies a great deal on this work for the writing of his Rati Raftasya,
To prove the importance of Gunapataka to Kokkoka for the composition of
his Rati Rahasya we may refer to Parichchheda 4, verses 3, 7, 25, of the Rati
Rahasya which echo the earlier work.
The same verses also occur in the commentary by Narayana Dikshii on
Subandhu's Vasavadam Cp. 240).
Gunapataka lias also been quoted from extensively by Mallinatha,®* who
however, uses the short form Pataka, [n another of his ^mmentaiies, he quotes
the same verses as those quoted by Narayana Dikshit, but without disclosing his
source.
Praudhadevaraya®* Maharaja in his Ratiratnapradipika also acknowledges
Gunapataka as his source material for some portions of his work.
Similarly, two other authors acknowledge their debt to Gunapataka—Frithvi-

" MaJatimatBtava^ commentary by Harihara. K.S. and comawatary.

** Code, Studies in Indian Literary History, 1, 239, 24], etc,
*• R,R. rv, 3, 7, 25; Code, ibid., p, 240. ** idegfaduta (1) Sanjivmi on verse t08.
Paghuvansha (2) Sanjivani on 8/92.
” R.R.P. n, 36.
 6 RATI RAHASTA

dhara,« in his coimncDtary on Africhchhakatika, and Sheshakrishna, in his Prakrit

iachandrika.
Thus from these references, it wtU be seen that Muladeva, who was a
notorious rogue, flourished in very early times, and that his work Gunapataka
continued to influence several Sanskrit writers on the Science of Erotics and
several commentators as well. Although the original manuscript of the work
has not yet been traced, the hope remains that one day it may be discovered
as a result of the researches by scholars, in the collections of Sanskrit manus¬
cripts.

(h) Vatsyayana
Although the dates of Vatsyayana’s life*’ have not (|uite been ascertained,
the majority of Sanskrit scholars today believe that he probably lived in the 4th
or 5th century a.d.
Chakladar” has compared some of the Sutras of Vatsyayana with some
Sutras in Dharmasutra and Kalpasutra of Apastamba. He has further shown
that Vatsyayana has foUowcd the method of Kautilya, and that Kalidasa was
well acquainted with the Kama Sutra,

(i) Muni
Kanchinatha^® identifies hfni with Vatsyayana.

CJ) Kama Sutra

This is the well-known classic by Vatsyayana on the Art of Love, which
has left an abiding influence not only on all later literature, but equally on al|
later sculpture, painting and indeed on all the fine arts of ancient India.

(k) Nagarjuna
He is the author of RasaratnakartP^—z. work dealing in alchemy. It
includes recipes for preparations from quicksilver and other materials purporting
to restore youthfulness, bestow longevity , invisibility, invulnerability and imparting
other superhuman powers to mortals. Ray®^ assigns him to the 7ih or the 8th
century while Wmtemitz®^ places him in the 10th century.
Kokkoka has drawn on Nagaijuna’s work and incorporated some recipes
» Code, ibid., pp. 240, 242 f»2. 247 il2. « TTi^ Classkat Age, p, 324.

•* The Age of ImpenatKanavj, p. t98. ^

“ Hktoty of Hindu Chemistry, ii, Sanskrit Texts, p. 14.
«(0 Wint^ita. aeschichle dtr mdisehen lirerotur, m. p. 552. {//) Keith. History of Sans-
knt Oieraftire^ p, S12. ^
 INTRODUCTION 7

in about twelve verses of his Rati Rahasya Unfortunately* the

commentary on these verses is not available.

(l) Skabdarnava
This is a famous lexicon quoted by various commentators. '

(m) Haramekhala
Mahuka,^ the son of Madhava, living in Chitrakuta during the reign of
Dharanivaraha’^ (A.D. 831)* composed a work Prayogamala^ otherwise named
Haramekhala^ in five parts. The first chapter has still not been found; the others
that are published deal mainly with ailments of animals and human beings together
with their remedies. There are also a number of recipes for various types of
incense, pei fumes, aphrodisiacs and for taming and seducing women.
A comparison of some verses of Kokkoka with those of Harameklmla
shows the extent of the former’s indebtedness:

R,R, Nos. HM. Nos,

14-26 3-3
14-33 3-40
14-53, 38 3-31,32
1441 3-5
15-17 4-369
lS-35to 37 4-41 to 43
15-38,40 to 41 4-46 to 48
15-82, 76, 80 4-324 to 326
15-102 4-U3
15-103,104 4-U6. 117
15-107 2-37
15-110, 111 2-41,42
15-112 2-44
15-105 24?

(n) Uddislm TantnP^

This is a compendium of various charms used for vanquishing enemies,
iiypnodsing people, seducing and subjugating women and such other purposes.
Its author is named Ravana. The following parallel verses from this work
and Rati Rahasya shows Kokkoka^s indebtedness to it:
» Haramekhala, 5-380/28I. {T.S.S. CXXfV and CXXVI).
One Dharanivarahn ruled at Wadhvan (Satirashira) as a feudatory of Icing Mahipak in
about A.D.914. Cf, (0 Bombay Gazetteer, I, Pt 1, pp. i 38,466, 468. {iV> Mnnshi. The Gfory fhai was
Gurjaradesha, ITT, p. 73. map p. 80. Dharanivaraba in whose reign Mahuka wrote must hence
be a different person. He might be a predecessor of Dharuivaraha of Wadhvan,
** Uddtsfa Tantra of Ravana, Ed. by M.P. Vyas, Varanasi.
 RATI RAHASVA

R.JL CAT.
14— 53 7—17
15— 35 7-24

e KolAoka faas drawn heavily not only from Uddhlm Tmira but
also from JfcnnwftAui, and Nagaijuna. We have only to study the last two
chapters of Kan Kaftasya to prove this point.

foj Yagavah
t I- “Pl'OUy referred to ragashataka by Haribhadra*’ Suri
who lived from V.S. 750 to 830, i.e..A.D. 694 to A.D. 774.
(p) Munindra
Kaochinatha« has actually identified him as Gonardiya, but from the
comparison of the verses
(0 R.R. 6-11 with ICS, 2-2-25
(ii) R.R. 8-4 with K-S. 2-4-14, 15
it is clear that the reference is to Vatsyayana alone and to no one else.

(q) Mmayah

SpMtfun^ "'Ws “S', who !s referred to in the plural perhaps

B. THE AUTHORSHIP AND DATE OF KATI RAHASYA

allv ofCbnjugal Bliss.” has beensever-

dere kScs Kokkoka, Kokka, Koka. Kukkoka. Kupkoka. Koka-
With two ks), by Raghavabhatta.^"^ '^
hi. little about the author's personal Ufe, beyond the fact that
his grandfather was named Tejoka; his father, who enjoyed great fame, went
,h,.%7vTv W " Vaidya WdyoS Pantok^d
that Kokokka himself was honoured among scholars and poets.**

« It’’ » P' J6B-

(1) It.R. 1-4, 15-130; (/j) Gita Rasiloipriya cptnmentani 2-6-S- Hfr\ to,,.,
conaptnlary of Vasud.va; (/p) Godc. n p

Abhignana Shakuntaht, Commenlaiy of Raghavabhatla, Act m. p. 95. **

 INTRODUCnOK 9

However, several legends have been woven around the name of Koka,
According to one such legend, he was a Kashmiri Brahmin, well-versed not only
in the Science of Erotics but in other occult sciences as well. However, there
is definite evidence to show that he wrote the Rati Rabasya {Kamakelirakasyd)
to please his protege Vainya (v,L Vaishya) datta,*® Trivedi, in his edition of
Ekavaii refers to the protege as Shri Vainyadatta. Kokkoka wrote the Rati
Rahasya to satisfy the curiosity of King Vainyadatta. We know from history
that one Vainyadatta flourished in about a.d. 507 in Bengal.''^ His portrait
on his gold coins is quite well known to numismatists, T have however no proof
to show that the protege of Kokkoka and the Gupta King are one and the same.
The author's main objective appears to be to instruct men in the art of
winning over frigid women, or those suffering from sexual anaesthesia. He
particularly stresses^^ the methods by which a man may not only gain the atten*
tion of women, but in due course, may come to sustain their affections. This is,
in fact, what is advocated by the Science of Erotics to every mao who studies
and practises it.
To achieve this ambitious objective, Kokkoka made a thorough study
of the works of his predecessors, both in the held of Erotics as well as in other
ancillary topics. He contends therefore that Rati Rahasya is the quintessence
of the wisdom of the sages who wrote about the Amoris.^^
As regards the date of Rati Rahasya, it is now possible to conjecture the
period within which it was written, with the help of two vastly differing composi¬
tions: one, the Haramekhaia of Mahuka, composed in v.s, 887, i.e,, a.d. 831
and second, the Nithakyamrita of Somadeva Sun/*
As mentioned earlier, Kokkoka drew heavily upon HaramekbaJa. The
other author, Somadeva Sun, refers in his Nitivakyamrita to Koka and his prao
lices as Divakama/’ As a cross-reference, Kokkoka refers to certain auspicious
tithis and yamaSj favoured by the Padmini and other types of women for congress,
and this epithet Divakama is based on the statements of Kokkoka. Although
the date of Nitivakyamrita has not yet been accurately ascertained, we know that
Somadeva Suri wrote another work entitled Yashastilaka Champu which was
definitely completed in Shaka 881, i.e., v.s. 1016, i.c., a.d. 959. We may con¬
clude, therefore, that Somadeva and Kokkoka were near contemporaries and
that Kokkoka lived sometimes between a.d. 830 and 960.
** R.R. 1-4.
^{t) The Classical Age, PP- 33-34. 40. 77. fw) The Coittage of the Gupta Empire-,
(fjt) Catalogue of the Gupta p. 311.
** R.R. 1-6. •* R.R. i-5. " Sec n. 33.
(i) Jfitiwikyamffta. XXV, p. 257. (tf) Yashastilaka, II. {iti} PandJta Nathurama Premi,
Jaitta Sahitya, aura flibasa, pp. 74-75, (/v) laina SahUya Samshodhaka, II, pp. 40, 43. d2.
 10 RATI RAHASYA

Since the 9ih century a,d., ICokkoka has become very widely jread^ and
small wonder then that succeeding authors and commentators, who put Rati
Rahasya almost on par with the Kama Sutra, used it extensively to explain certain
terms in their own works, A few examples are mentioned below:
(0 Harihara (about a.d, 1216) on Malati Madhava.
(«■) Narayana Dikshii (after a,d. 1250) on Vasavadatta.
(ifi) Yashodhara (a.d. 1225-1275) on Kama Sutra.
(iv) Vemabhupala f 14th cent, a,d.) on Amaruka shataka,
fr) Jagaddhara (a.d. 1300-1400) on Malatimadhava,
(vi) Mallinalha (A,n. 1430) on Megha, Raghu, Kirata, Naisftadha, etc.
(viV) Kumbha (a.d, 1433-1469) on Gita Govifida.

C, KOKKOKA’S CONTRIBUTION TO INDIAN EROTICS

Kokkoka will be remembered by Indians for presenting a most appealing

and attractive subject in a very lucid and readable form. It is not generally dis¬
puted that Vatsyayana’s Kama Sutra, though a learned collection of Sutras, is
not easily understood by a layman without the help of a commentary and Kokko-
ka’s work undoubtedly serves as a more popular and a more readable version.
Apart from this, Kokkoka's really invaluable contribution to the Science
of Erotics originates from several aspects and these appear for the first time in
Rati Rahasya, and indeed which are conspicuous by their absence in the Kama
Sutra, Some ideas which he has put forth have been drawn from (he works of
Nandtkeshvara, Gonlkaputra, Gonardiya, Muladeva, and the work known as Guna-
pataka—3\\ of which are unpublished and comparatively little known. We only
know of them through Kokkoka's references to and notations from these works.
Among the original topics which are discussed for the first time by Kokkoka
are the following ones:
(a) He classified women into four major categories—Padmini, Chitrini,
Shankhini and Hastinl — and tabulated their physical, psychological
and sexual characteristics, along with the days and nights and Yamas
thereof and postures favourable for each of them for the attainment
of the highest conjugal happiness. Some writers** contend that this
classification has been lifted from Vatsyayana; in actual fact, it is
conspicuously absent in the Kama Sutra.
(b) He has isolated erogenous zones, and further specific certain days
of the waxing and the waning Moon (Chandrakafa) as suitable for
the various technltiues of winning over women,
Shriagafammjari, Ed. Dr. Ragtiavan. p. $4.
 INTRODUCTION n

(c) Although basically he has followed Vatsyayana in classifying women

and men into Hanoi, Vadava, Hastini and Shasha, Vrisha and
Ashva, according to the parinaha (circumference) and the ayama
(length, depth) of their respective organs, he has gone a step further
and detailed their physical, psychological and sexual peculiarities,
and the different means to be employed to please them. Kokkoka
himself acknowledges Vatsyayana as his source, but the details are
glaringly absent from the Kama Sutra.
(d) He has lypitied women according to body humours—Shleshmala,
Pittala and Vatala—and differentiated between their physical features
and their psychological and sexual bias. This he has based on the
Gunapataka.
{e) He has classified women according to Sattva^ here following Bharata
in his J^atyashastra. Although Kokkoka has mentioned only nine
as against Bharata*s twenty-one categories, there are at least two
categories, namely, Kaka-Saitva and Pishacha-Saitva mentioned in
the present work which are quite original.*®
if) While enumerating the sexual customs and practices of the women
of the different provinces, he has given some additional categories
such as Gutjari, Utkali, Vamga*yuvati, etc.“
(g) He has graded women according to their age—Bala, Taruni, Praudha,
and Vriddha—and suggested different ways of pleasing each of them.
For details, he has consulted Gunapataka.
(h) In the chapters on Vashikarana, he has enumerated mantras or charms
named KameshvaratKimdalini, Hriliekhat Saptakshara and Krisfinakshi.
He has also given the recipes for ‘Mahavashikarana* oil, ‘Chintamani’
incense and other preparations for painless child-birth, for the pre¬
vention of abortion, for improving one’s voice, for avoiding body and
mouth odours, for uplifting sagging breasts, and also incorporated
some of Nagarjuna’s recipes.
This in itself is no mean contribution, since these recipes are not to be
found in the extant text of the Kama Sutra,

D, REMARKS ON THE EXTANT TEXT OF RATf RAHASYA

It is necessary to write a few lines on this subject inasmuch as the extant

text has been undoubtedly tampered with by some later author or authors. This
can be seen from the following tabulated statement:
** Natyasftastra, 24-96 to 135; R,R. 4*14 to 16. »R.R. 5-9 to 22.
 12 RATI RAUA5YA

(0 Xama Sutra Rati Riduaya

3. 2. 40. 41, 43, 44, tH9to 22.
5-3-35. 13-76. All found in R.R. also.
5-1. 33. 54, 5-1-8. 13«37, 38; 13-15 (in verse).
(ff) Shringaradipika on Amaruiashataks One verse regarding Marjarikarana not
107, found in R.R.
(u/) (a) Sairjivini on Megha lOl. Not found in R.R.
(i) -do- on ^tnara 7-94 quotes n It is in R,R. 11-8.
vicrse from Kama Sum,
(tv) (a) Saitjiviat on Simtara 8-6. (a) Not found tn R.R.
(b) -do- 8-9. (b) lD R,R. 11-19 (It is also in K.S
3-240).
(v) Jivaiu on NaSsha^ 18-37. One verse. Not found In R.R.
(vfl Jivatu on Naidm^ 18-110. Not found in R.R.
Jivutu on ATffuftadKa 18-12. Parts composed in two verses, R-R.
10-44, 45.
(vWl) Saajivini on Ragku 19-25. Words slightly changed, R.R, 10-35,
fix) Ghantapatha on Kiraia 5-23. (Five 37-39.
verses).
Some words changed and parts of some
For ihe last verse, sec (h) above. verses interchanged in R.R. 10-37, 38,
MalUnatha says it is from another 39. 46, 47, 48.
work,
(x) Ghantapatha on Kirata 9-10. Parts composed in two verses, R.R
[0-44. 45,
(xj) Sanwikasha on Shishu 13-45. Some wordings with dilTercnt case icr-
minations, R,R. Ml,
(xi/) Rasamanjari on Gita Gaviada 7-7- Not found in R.R.
XIV. 2-8-VI.
(xW) -do- 2-8-Vf and 7.6-XrV, Not found in R.R.

It is not difficult to enlarge this list, but the evidence given above should
be sufficient to convince scholars that another edition, carefully compiled and
printed, is badly needed for an exhaustive study of Kmna Shastra, the Science of
Erotics.

E. CLASSIFICATION OF MEN

Vatsyayana and his commentator Yashodhara, and the sources quoted by

the latter, all mention the threefold classification of men into (1) Shasha, (2) Vrisha,
and (3) Ashva; however, Vatsyayana avoids any mention of the sizes of the phaJlus
in attgulas.^^
While Kokkoka mentions Vatsyayana as his source,** Padmashri and
l^yanamalla do not mention Vatsyayana, though they use the same classification,
Praudhadevaraya follows Vatsyayana, but adds a verse (0-55) of his own where
“R.R. 3-17,«c-
 INTRODUCTION 13

he pairs Shashaka with Padmini, Vrisha with both Chitrini and Shankhini and
Haya with Hastini. Rudra in his Smaradipika says that Shashaka pairs well with
Padmini, Mriga with Chitrini, Vrishabha with Shankhini and Haya with Hastini,*^
Minanath probably follows Kokkoka, but adds that in the case of Vrishabha,
the phallus measures ten angulas.
Three other writers however—Jayadeva, Rudra and Jyotirisha—mention
an additional classilication of men: the Mriga type; the av'uma (length) of the
phallus of the Mriga type is eight angulas while that of the Vrisha type is ten
angulas. iyotirishvara omits any mention of the ayama of the Mriga type, but
gives that of the Vrisha as nine atigulas.
Similarly, Harihara gives a fourfoid class!hcation of men, but under diiTe-
rent heads—Panchala, Kuchimara, Datta and Bhadra, Strangely enough, St.
All Akbar Shah also admits that he has followed the Vatsyayana school in his
classification.*^ In the above-mentioned fourfold classification the OTn/no table
tallies with that given by Jayadeva.
Madhava,** on the other hand, has classified men into five categories—
Mriga, Barkara, Vrisha, Turaga and Rasabha, with the ayama as six, eighty
ten, twelve and fourteen angulas resp^ively. The ayama of the Rasabha type
is considered extra large for a human being, and although Virbhadra*'^ certainly
knew about this classification, he has discreetly omitted any reference to the ayama.
To make these two fourfold classifications of men clear the following table
will help to give a better picture;

I Sf. D(H) E^achala Kuchiniara Datta Bhadra

Sr. M, Fadimni Shankhini Chitrini Hastini

11 P.S. Shaskakfl Mriga Vrisha Haya

S,D. (Rudra) Shashaka Mriga Vrishabha Haya

Padmini Chitrini Shack hini Hastini

ELM. (Jayadeva) Same as S.D. (Rudra)

Dr. Raghavan*^ has referred to Shri M. R. Kavi who has tried to identify
Bhadra as Muladeva, an established authority on the Science of Erotics. Datta is
the same as Dattaka who wrote Vaishika. Kuchimara is the author of Kuchimara
Tantra and Panchala is the same as Babhravya.
" Quoied by Tripathi in his commeatary on K.M. 652. “ Sfirbig^ramanjar!, p, 307,
“ Same as No. S3, “ K.C 2-1-22. Sr, M., p. 35, Tntroduction.
 14 RATI RAHASYA

There is a third fourfold classification of men as follows

Va&avadatta: Akarshaka Chumbaka Dravaka Bhramaka
Bhoja eTtpIains: Attracts I>^irous of con¬ Pleases with Pleases with speech,
tacting every part glances fs either well liked
of the body. or bated.
Shivarama in *^do- Kisses lovingly Melts even frigid While attached to
Darpana women and sails- one woman dccci-
explains t Res them. vci another.

It appears therefore that there were several different ways of classifying

men, as the following table will show:

VaUyayana, Kokkoka,, Padmashri. Threefold dassification^

Kalyanamalia, etc.

Jyotirisha and others Fourfold classification of the first type.

Harihara and others Fourfold classificatton of the second type.

Subandhu and others Fourfold dassincatioa of the third type*

Madhava and others Fivefold cbssificatioD.

F. CLASSIFICATION OF WOMEN

On this subject, Vatsyayana has thought fit only to mention three broad
categories—-the Mrigl type, the Vadava type and the Hastini type, and has avoided
mention of their respective parinaha (measurement of the circumference of their
yoni). He is followed in this by his conunentator Yashodhara,
Kokkoka, on the other hand, gives us a fourfold classification, although
on another occasion he follows Gunapataka and mentions the threefold classifica¬
tion as Shalatha, Ghana or Dridha and Madhyama. Praudhadevaraya and
Kalyanamalia also give descriptions of these types,
Damodara®“ refers to the Chumbaka type of women also, and it is certain
therefore that by his time, the fourfold classification of women as Akarshtni, etc.,
was quite well known, Tripathi, in his commentary, explains these four types.
Padmashri gives us the threefold classification mentioned by Jayadeva,
though later, Jayadeva has also mentioned a fourfold division. Oddly enough]
Jyotirisha gives only three classifications and Praudhadevaraya follows him.
^ Quoted by Tripathi in his commentary oa K,M. p. 320,
** K.M. 320 and commentary ofTfipaihi.
 INTRODUCTION 15

However, K^LyaoEunalla gives us the four ciassi heat tons.

Rudra and Harthara follow Kokkoka for their classihcation but add the
pahmha also.
It Is Madhava”*’ who gives us hve dassificattons comparable to those of
men—Harini, Chhagi, Vadava, Karini and Karabhi, with their respective
of six, eight, ten, twelve and fourteen mgufas respectively.
It would appear therefore that as in the case of men, several different
classifications of women had been established.
An original and interesting classification divides women into twenty types,
according to Sattm, Bharata*’ has enumerated this division, but it has not been
followed exclusively in any extant text. Indeed Valsyayana does not refer to
this classification at all, though Kokkoka borrows nine of them from Bharata
and adds two new ones—Pishacha and Kaka. Jyotirisha has given four classi¬
fications, although the one named Preta which he includes, has not even been
mentioned by Kokkoka or Bharata. Praudhadevaraya appears to have followed
Bharata to a great extent, but has included the Pishacha type mentioned by Kokkoka
while omitting the Preta type mentioned by Jyotirisha. KaJyanamalla has
followed Kokkoka closely.

G. EROGENOUS ZONES

The theory of erogenous zones is comparatively ret^nt in the West as

compared to its development in India.
It was Willis*® who first minutely observed the nervous system in order to
determine through which mechanism of the human body ^sympathy' works. In
the latter half of the eighteenth century, Whytt again dealt with this ‘sympathy’
in one of his works, while Charcot deals with hystriogenic zones of the human
body. In the course of his researches, Charcot found zones of different orders:
cutaneous or mucous or visceral. In 1881, Chambard published his book on
hypnotic phenomena, in which he clearly stated that on the surface of women's
skins exist certain regions comparable to epileptogenic centres to which the name
of erogenic centres might be applied. Among these centres are two varieties:
the constant centres, independent of the dermo-mucous surface of the mouth
of the womb, namely, the inner side of the thigh, the tnguino-ocrvical and the
ilio-inguinal regions and the nipples; the second variety of centres arc less constant
and subject to different influences: they are the anterior cervical region, the sides
of the neck and the palmar region. Special sensations and reflexes emanate from
** Tripathi, same as notes 53, 55. *’ Natyashasira, XXPif. 94-135.
« Ellis. Psychology of Sex, lit. 2, pp. 111 to 120.
16 RATI RAHASYA

these centres, and excitations of these parts, under certain conditions, produce a
voluptuous sensation and cause muscular actions which prepare, determine and
culminate in the union between man and woman.
A little later, in 1883, however, Frere observed that in order to arouse
the woman’s passions fully, it was sufTident for the man to merely touch certain
parts and regions of her body.
In 1903, Ellis in his third Volume introduced the word '‘erogeous zones.’
Ellis asserts that the significance of the zones is that of by-apparatus and surro¬
gates of the genital organs. Moll has observed that stimuiation of these areas
gives rise directly or indirectly to voluptuous sensations. Hirschfeld has enumera¬
ted eight such spots, four with the growth of hair (such as beard, chin, armpit
and the pubis) and four with a mucous surface (mouth, nipples, genital region
and the anal region). He considers as secondary zones the palms, soles, fmger
tips, toes, knees, elbows and sacral region. Ellis has suggested the addition of
ears to this list.
Coming now to Indian erotic literature, we find that Vatsyayaoa has men¬
tioned certain parts of the human body as fit for kissing, for making nail and teeth
marks, for Karikarakriday for thumping, for pressing with the palms and so on.
While closely following him, Kokkoka has added the device of titillating certain
parts with the fingers, and following Nandikeshvara and Gonikaputra, has given
a list of some fifteen anatomical parts, which when contacted in special ways,
engender and heighten one’s passion. For instance, some parts like the breasts
require squeezing, others like the buttocks require kneading, cheeks respond to
pinching, lips are fit for kissing, and so on. All these devices may be used with
greater satisfaction on certain auspicious days of the lunar month, and elaborate
details are given by Kokkoka, Jyotirisha, Kalyanamalla, and other writers on
this subject. Indeed all writers on Indian Erotics have mentioned in their own
individual styles, the erogenous centres of the human body and the respective
devices at one’s disposal for making the fullest possible use of them.
Kalidasa, among other authors, has described how once a confidante of
Parvati suggested to her that she should touch {sprisha) Shashikala (the crescent
moon resting sporadically) on the god Shiva’s head. MaNinatha, Kalidasa's com¬
mentator, seems to have clearly understood the real—or indeed the symbolical—
meaning of Shashikala but somehow does not explain it; instead, he merely
comments on it as Suratavishesha.“ We may be justified in reading a symbolical
meaning of Shashikala through the commentary and say that it is not really the
crescent moon, but the position of Ananga (or Cupid) in the particular anatomical
part. To substantiate this content, Kokkoka and other writers on Erotics have
^ Kumarosambhism, 7, I^dnd coinincAlary,
 1. Gtmral vieh* of rhe fempte of Vlskwanatha, Khqjurafto.
11//i cenlury^ (Copynghr^ Deporim^ni of Archaeo--
fogy^ Goyetnment of fndia).

2. The small femph of KhaJaroliQ, J ] th centuty,

(Copyright^ Deportment of Archoeohgyf Goyerttmeat
of Ittdiaf

2
 I

.
3 Sculptured panels sh^wmg mithrma figures frvm
Mahadev temple^ Kltajuraho. IJ ih
//jL^ Knndariya
century. {Copyright^ Department of Archae¬
ology^ Government of fndia).

4, A loving couple. Detail from the south side of

the Partisvamiha temple, Khajuraho^ H/A cen¬
tury. {Copyright. Department of Archaeology,
Government of India}.

5. Detail of a god and goddess In an amorous pose

from the Parasvanatha temple^ Khajuraho. 11 th
century. (Photo, Shamo Kllanjar).
6- Exquisite sculpture of a couple from
the Lifigaraja temple, Bhubaneshwar,
I lfA century. {Copyrighl, Depart¬
ment of Archaeology, Government of
India}.

7- Close-up of the pretious sculpture,

showing the expressive features of
the man and woman. From the
Liagarap temple, BhubonesfiMerA \tb
century. (Copyright, Department of
Archaeology, Government of India),
9. of a sculptured panelfrom rhe Lingaraja temple.
SkubaneshM-ar, 11/A century, (Copyright, Depart^
menr of Archaeology. Go\'eri}meni of India).
 i l. Sculpture ofn coupk from the Raja Rant iempfe^
Bkubatieshwur^ i2rh century. Copyright^ Depart¬
ment of Archaeology, Goyernmeut of India).

10

11

i
! I
t

13

12. IJ. wUh mfaningfut smiks and heautifui

from the Raja tetnpk, Bkabaneshn’ar. 12^A
meijt'of of Afc/taeolagy, Gorem-
,
 "V

INTRODUCTION t?

also included the head as one of the limbs with a love potential.
An interesting point which may be noted here is that all the texts on Erotics
refer to Kamasthanas (erogenous centres) and Anangasthiti (their love potential)
belonging exclusively to women. None of these works refers to these in men.
However, it becomes evident from a study of these works that some kisses, embra¬
ces, nail and teeth marks are to be done by women on men, and we may conclude
that Kanujsthanas and Aftartgasthiti exist in men too, and that the use of them is
reciprocal. Perhaps the explanation lies in the fact that the extant manuscripts
are corrupt, and that the portions dealing with Kamasthanas and ArtaMgasihiti
in men have been tampered with. Perhaps the other authors on Erotics missed
mention of this in the Kama Sutra. Mallinatha, the commentator, knew about
the Kamast/ianos and Anangastbiti in men since he has commented positively
on the subject. As for Kokkoka, he tells us that he gathered his material from
the works of Nandikeshwara, Goniputraka, etc.
In classical literature, we find the theory of touch and its effect clearly
represented. Pururava's attraction for Urvashi was heightened when his shoulder
touched hers. Parvati experienced horripilation and Shiva perspired at the
fingers when Shiva clasped her palm."*

H. BODY-ODOUR AND ITS EFFECT

The theory of body-odour and its effect was very well-developed in ancient
India. We hnd it mentioned in several works. However, before these are des¬
cribed, it will be interesting to know its development in the West.
It is an accepted fact that all men and women are odorous, and that clean
habits open out the skin pores and help to exude these odours. Odour varies
among individuals and among tribes. For instance, Monbuttu women have a
strong gorgonzola smell, the Australian aborigines have a smell of phosphoric
character, the Chinese have a musty odour and many Europeans have a strong
and pungent smell. It is quite true that the white races smell le» strongly than
most of the dark races. Odour appears to be related to both pigmentation and
to the degree of hair growth.
Ellis"^ has enumerated eight kinds of body odours such as those of skin,
scalp, breath, armpits, feet, perineal odour, preputial smegma and mons veneris,
vulvar smegma, vaginal mucous, menstrua! odour, etc.
We may now examine the many references to body-odour and its effect
in Indian literature.
** friiifantofvasJtiytK Act I. {ii} Kutnarasambho\'0,1*11.
** Ellis, ibid, T—2. iii. pp. 59-90.
 IS RATI RAHASYA

In the Mahabharata^* we are told that Shantanu found Dasheyi not only
beauteous and virtuous, but sweet-smeUiug also. The story tells us that in trying
to trtce the source of the fragrance that assailed his nostrils he discovered the
maiden who was indeed the cause of it.
Another story in the Mahubharata tells us how a boon was granted to
Matsyagandha, the daughter of Girifca and Vasu. The maiden had been cursed
and became a fish in the waters of the Yamuna river, until one day she was accosted
by Parashara from whom she sought the boou of fragrance. Thereupon Parashara
impregnated her with fragrance through a physical union with her and she became
known as Gandhavati (the sweet smelling maiden) ever after. She came to be
otherwise known as ‘Yojanagandha’ for it is said that people could smeU her
approach over a distance of one yojam.
The Mahabharata also relates how when Draupadi was bom, her own
lotus-smell spread to a distance of one kroska.
Shakuntala sdescnption by Kahdasa emboldens Ragliavabhatta*^ to contend
that she was a woman of the Padmini type.
Parvaii is described as one whose breath smells of lotus and Prururava
poetically asks the bees if they have smelt the fragrance of Urvashi’s breath.
Lotus-smell is again referred to several times in the Skrimad Bhagavata
Devahuti*^* once encountered a thousand maidens with the lotus-fragrance, and
subsequently she gave birth to daughters with a similar fragrance. The same
Purana refers to Urvashi’s lotus-smeU which bewitched Purumva. Uddhava
refers to heavenly maidens with the lotus-smell.
In the same we also have a reference to the fish-smell of the
human body. Br^mahatya in the shape of an old hag was seen by Indra foUow-
tng him and emitting a strong fish-odour.
Damayanti is actually described as Padmini (lotus-smelling) by Shri Harsha.
u Padmini (the lolus-smelliug) and the Matsyagandhc
(fish-smelling), the other types of body-odour have not been described in Indian
literature, though the smell of mucous discharge has been mentioned. Kokkoka^*
desenbes the mucous of the Padmini type as lot us-smelling, that of the Chitrini
t\pe as houey-smelling. that of the Shankhini type as acid-smelUng and that of
Hastini, as smelling like the ichor of an elephant. He has similarly described
the mucous odours of Harini, the Vadava and the Hastini,'^®

“ Afa/iabh^irata, 1-63-167, Ig4. 197.

Shakuntala, commentary of Raghavabhatta, Act I (alter verse 19)
« (0 Kumafarambhaya, 5-27. 8-19. («> mranionashijv.
 INTRODUCTION 19

Jyotirisha’* has only mentioned the mucous of the Hasttm though Kalyana'
jnalla'’^ has described the mucous odours of the Padmiul, the Chitriui, the Shan-
khiai, the Hastini, the Mrigi, the Vadava and the Hasttni,
The references to body-odour and its effects in Indian literature cited above
will indicate that this theory had been highly developed in ancient India.

RS. 1-9. ,
« A.R. fO 1-8. 10. 12 R (ffl) 3.21, 23, 25.
 CHAPTER I

THE CLASSIFICATION OF WOMEN

L May the God of Love, who vanquished the three worlds with the help
of woman and whose life was many"Splendoured, grant you all your wishes.
2. He is ever-victorious—that God of Love, born in the mind, the Moon’s
friend, the abode of all happiness, and whose onslaught brooks no resistance.
He is the anchorage of pleasure-loving men, and the vanquisher of Tripura (Shiva)
for although Shiva burnt him to ashes with the fire from his eye, he forcibly and
instantly transformed Shiva into the form of half-man and half-woman,
3. Benediction too for the lofty and unexceptionable accoutrements
of that unassailable God. He has bees as his retinue, koels (cuckoos) to sing
his panegyrics, the Moon as his royal canopy, the fragrant breeze from the mount
Malaya to serve as his frenzied elephant-mount, the delicate limbs of a woman to
act as his bowstring and her coquettish glances as his arrows. Love is bom in
the minds of men and comes to tyrannise the whole world.
4. Oh learned men, pray listen closely to this literary masterpiece which,
like a lamp, iJiumines the Art of Love, It is composed by the poet Kokkoka to
satisfy the curiosity of King Vainyadatta,
5. Keeping my mind firmly on the subject, I have endeavoured to glean
the essence of learning by referring to the ancient sages again and again, and
milking the cow of learning and churning the milk of their wisdom. This quintes¬
sence of learning is delicious and wholesome, and fit to be exercised in the enjoy¬
ment of youthful beauty. Indeed, even the Gods have accepted this. So you,
distinguished men of learning, may also enjoy its benefits.
6. The object of the Art of Love is, in the first place, to win the affection
of an unattached woman; having won it, then to enjoy it, and having enjoyed it,
to perpetuate and enhance its enjoyment.
7. In the lives of men, so transitory and evanescent that they are like
water-drops falling off the eaves of houses, only one essential happiness in its
fullest and complete form is considered worthwhile, and that is the fulfilment
of the human senses. Which foo! can ignore the subtleties and mysteries of the
Art of Love and yet enjoy this happiness, which is akin to the highest happiness
resulting from the realization of the Absolute?
8. What can a monkey do with a coconut when he finds one? (Nothing,
unless he knows how to break it and discover its kernel.) Similarly a man who
is unfa^ar with the details of the Art of Love, such as women’s infinite variety
(Hanm, etc.), their natural traits (sluggishness, etc,), their different ages (child-
20
 THE CLASSinCATlON OP WOMEN 2)

hood^ etc.)t their different provindaJ customs, their different seasons, their amena>
bility to unions—such a man falters in his approach through diffidence, fails to
respond adequately to his partner, and is ultimately balked of his pleasure, even
though he has a maiden's youthful virginity at his disposal.
9. While I have the natural respect for the learning of the ancient sages,
1 have included much of my own that has been left unsaid in Vatsyayana’s Aama
Sutra, much that has been seen and heard by me elsewhere. Also, I have found
that even if the meaning of one book is clear enough for normal intelligence, it
is made considerably easier for the dull-witted, if it is related In another manner
with specific implications.
10. Women are known to have been classified as of four types—^Padmini,
Chitrini, Shankhini and then Hastini. Of these, the first, the Padmini type, is
considered supreme; then come the other three types, in that order of excellence.
11. TTie Padmini type of woman is soft as a lotus-bud, and her mucous
discharge too has the unusual fragrance of a blossoming lotus. Her eyes are
scarlet at the comers and resemble those of a startled gazelle, and her two breasts
are peerlessly beautiful, like the ShriphaJa fruits. (The fruits of the Biiva tree.)
12. Her nose is delicate, like a Tila flower, and she is ever mindful of
the worship of Brahmans, preceptors and deities. She has the lustre of lotus-
petals and the golden complexion of the Champaka flower. Her yoni^ ts cup-
shaped, like a lotus in bloom.
13. She walks gracefully like a swan, and like a swan, her voice pleases.
Thin in build, her torso is divided by three clear outlines. She dresses with dignity,
partakes moderately of soft and clean food, bears herself with dignity and inviol¬
able self-respect, and favours particularly white flowers and white dresses.
14. The Chitrini type of woman has an attractive gait, and is neither too
tall nor too short. Though thin in build, she has large breasts and yoni, symme¬
trical thighs and full lips. Her mucous discharge has the fragrance of honey, her
neck is conch-shaped (with the three lines diought to be very fortunate), her voice
is the song of the Chakora bird, and she is adept in the arts of dancing, music
and the other arts.
15. Her yoni is well-rounded and high, soft and well-lubricated inside,
and having sparse pubic hair. She has quick sight and perception, and a fond¬
ness for indulging in unions. Her taste in garments, garlands, ornaments and
cosmetics is inclined to be colourful.
16. The Shankhini type of woman ^ neither too fat nor too thin. She
possesses long legs and a long torso, and is fond of red flowers and garments.
She is quick-tempered. Her complexion is so clear-skinned that her veins show
* Tbroughoiii this translation^ the word yoni is used to denote a woaian's vagina.
 Chltrini

fadmini

Sbankkitti
Hastini
 THE CLASSIFICATION OF WOMEN 23
clearly beneath the skin. Her walk is undulating, her yoni is covered generously
with pubic hair, and her mucous discharge smells acid.
17. During her union with a man, she is given to making excessive naih
marks but has little bodUy discharge. Her limbs are slightly warm. Her diet
is neither too heavy nor too light but her disposition is on the whole bilious.
Her mind is unchaste and crafty and her voice is as unmelodious as a donkey's,
18. Finally, the Hastini type of woman walks gracelessly and displays
thick and crooked toes on her feet. Her neck is thick and short, her hair tawny;
alt her actions are hurtful. She is rather corpulent and her yoni and mucous
discharge smell like the rut of an elephant.
19. She indulges in her appetite freely and eats twice the quantity of
food required, which again is usually bitter or pungent. She is devoid of dignity.
Her lips are thick and drooping. During the act of union she is very difficult
to please. She is affiicted by excessive hairiness on her entire body and on her
yoni, which is quite large. Her speech is halting and indistinct.
20. The days most favoured by the Chitrini ijre of woman for union
with a man are the second, fourth, fifth, sixth, twelfth, tenth, and the eighth day of
the moon (respectively denoted by eyes, ears, arrows of the God of Love, the
Seasons, Adiyfas, the directions and the Nagas). Similarly, the favourable days
in the case of the Hastini type are the ninth, fifteenth, fourteenth, the seventh
(respectively denoted by the planets, days of a fortnight, the worlds and (Lokas)
divisions of the terrestrial world). The favourable days in the case of the Shan-
khini type are the remaining four, namely, the first, third, eleventh and the thirteenth
day of the moon.
(The days in the case of the Padmini type have not been mentioned).
21. A man can best gratify the Padmini type of woman by adopting the
Pankaja posture; the Shankbini type of woman by adopting the Venudarita
posture (where the legs are placed like a split bamboo); the Hastini type by adopt*
ing the Skandhapadayugala posture (where the pair of legs rest on the shoulders);
and the Chitrini type by adopting the Nagara posture.
(Laya impUes a posture whereby a man and a woman are physically
united).
22. The most auspicious time for a man to arouse the Chitrini type of
woman for a physical union is the first yaim (a period of three hours) of the day
and the night; and the Hastini type in the second yama of the day and the night,
A man causes the Shankhini type to reach her climax best in the third yama; and
the charming Padmini type be can please in the fourth yama of the day and the
night.
(Yama is one-eighth part of a day, i.c., a period of three hours).
24 RATI RAHASYA

23. (Now are described the ways and means of wttmiog over the woman
and certain medicinal recipes).
A man should win over the Chitrini type of woman by giving powdered
nutmeg (with betel leaO mixed with the juice of the banana tree; the Hastini
type of woman by offering her the ash of the feathers of a pigeon and a buzzing
bee mixed with honey (with betel leaf); the Shankhtni type of woman by offering
her (a part oO the Shriphata nuxed with powdered root of Gandhatagari plant
(with betel leaO* The following incantations arc to be simultaneously recited,
1. ‘OmI Pacha (thrice); the flying bird (twice); May this be offered to
the God of Love.’ It is possible (for a man) to win over the Chitrini type of
woman if he gives her nutmeg powder mixed with the juice of the root of the
banana tree, with a betel leaf along with this incantation.
2. ‘Om! Chhmdhi(?) Chandi! v.l. ) ( twice), Oh, Presiding Deity of the
Secret Formula for winning over women! {thrice); May this be offered to the
God of Love!’
The Hastini type of woman is likely to be won over if she is given the feathers
of a pigeon and a bee mixed with honey, with a betel leaf along with this incanta¬
tion.
3. ‘Om! Hara! (twice). Pacha! May these be offered to the God of Love.'
The Shankhini type of woman is likely to be won over if she is given the root of
'Gandha tagara* with the Bilva fruit along with this incantation.
(Neither the Mantras nor the medicinal recipes are given for the Padmini
type of woman as she is considered to be above such artifices).
14- Mirhuna figure frr>m ilte soufh-eusf cf the Jagmtmhan of
the Sum rempfe at Konmak. \}th cettlury. [Copynghf^
Department of Archaeohgp. Government of halm).

15* Beattriful satfptuted figures from the Btuhme^wara femp!e^

Bhubaneshwar MjA century. {Copyrfght, Beparimens
of A rchaeology, Government of hidta).
 16- Mifhma ftgures from th? Museim at
Konarak. l^lh century. (Copyright. Depart^
menf of Arckaeolcgy^ Government of india).

Ift

17, Sadpfure fr&m the Sim temple, Konarak. 13th century.

(Copyright, Department of Archaeology, Government of
Indfo).

17
IS. Umcefu! figures fram ike Sm
tempfe, Konuruk. U/A cefttury.
(Fhofo, Darshan Luff)*

IS
 \9, 20. Chse^ups of rhe ejKpressive futures of coupler itt hve^
from the Lingiirajo rempk^ Bhubewes^tar, Uy/i temury^
{Copyrighi^ Deparim^ni of Arcfui^hg}\ Governttwot of
Indio).

21. The fond embrace, depicring the intensi/jf

love. Sculpture from Kbajurahe. 1 ] lA ,
^iirv. IPboto, Shama KltaHjarl

20

T
22* Sculpture of o hving coopk. fuH of fyricaf gracetfraoi the Rojo
Roni rempfe, Bhuboneswor^ Mth cent ary. {Copyright, Depart¬
ment of Archaeology, Government of India),

21. Beaus ifut sculpture from the Sun temple as Kosiarak. [3th
eenSur}\ {Copyright, Department of Archaeology, Gowrnmcstt
of fndia),

24. The Kiss. Sculpstire from the Sun temple at Konarak, {Copy-
right. Department of Archaeology, Government of India).
 ’I

li. A lyrical and graceful sculpture of a loving

couple, from the ^uiratji temple, Khajuraho,
\ith century, {Copyright, Department of
Archaeology. Government of India).

26, Embracing figures from the Devi Jagdomba

temple, Khajuraho. 11/A century, {Copy¬
right, Department of Archaeology, Govern¬
ment of India).

15
 CHAPTER ][

EROGENOUS ZONES AND RELATED TOPICS

1. A 'man should note that in the lunar month of the waning moon, from
the first to the hftcenth day, the God of Love resides from the top of her hair
to the toe on the left half of the fawn-eyed woman, white in the lunar month of
the waxing moon, similarly, he resides in her right half.
The limbs which Love has made his abodes are: the toes, the feet, the ankles,
the knees, the thighs, the navel, the bosom, the breasts, the arm-pits, the neck,
the cheek, the lip, the eyes, the forehead and the head.
2. During a union, some men in the heat of passion, putt locks of hair;
some kiss the forehead and the eyes; some kiss the lips with both lips and the
teeth; some caress the cheeks; some inflict nail'marks in the arm*ptts and the
neck; some grasp the breasts tightly; some knead the bosom with the fists, and
some thump with the fist slowly on the navel,
3. Excited men often indulge in the Karikarakrida (manipulation with
fingers held in a particular way, like the proboscis of an elephant and movements
made on the outer part of the yoni). They rub their own limbs such as the shank,
the knee, the foot and the toe with corresponding limbs of their beloved. In
this way, those who know the Art of Love can thaw the natural reticence of their
partners in the same way as the moon with her rays causes the moonstone to ooze.
4. The five well-known arrows of the God of Love are marked ‘a\ ‘i’,
‘u’, ‘e* and ‘o% and they are to be aimed at the heart, the breasts, the eyes, the
head and the yoni respectively. When these arrows are directed like sparks from
one's eyes at those vulnerable limbs, it affects every w'oman and she drips with the
fluid of the organ.
5. So far, I have presented the essence of the teaching of Nandikeshvara
on this topic. Now follows the abbreviated version of the exposition given by
Gonikaputra.
6. The God of Love moves downwards from head to foot (in a woman's
body) during the fifteen days of the waning moon, but moves upwards during
the fifteen days of the waxing moon. Men afflicted with desire can overwhetni
the doe-eyed women through the resplendence of the sixteen matras (vowels and
consonants) which tike sparks from a fire, are directed to their vulnerable limbs.
7. On the first day of the lunar month, an amorous man should approach
the young woman by clasping her neck tightly* kissing the forehead and the checks,
and by pressing her lips with his front teeth. He should softly scratch her back,
her sides and her posteriors with nails growing on delicate fingers, which engenders
23
26 RATI RAHASVA

great excitement^ until she gives out low shrieks and attains her orgasm.
8. On the second day of the lunar month, the amorous man may gratify
a woman by the pleasing expedient of pressing her breasts, kissing her cheeks,
eyes and breasts. He should make nail*marks on her sides, suck her lips gently,
chafe her arm-pits with nails and embrace her very tightly.
9. On the third day of the lunar month, a man is able to arouse a woman’s
passion by embracing her tightly and inflicting nail-marks on her sides and her
arm-pits. Anxious for pleasure of kissing her lips, he may place her head on
the crook of her arm, and then arouse her by chafing her breasts. (This sport
is known as Chhurita,)
10. On the fourth day of the lunar month, naen often sport in the river
of the lotus-eyed woman's humours, by embracing her unreservedly, pressing
her breasts firmly together until there is no space left between them, making teeth-
marks on the lips, making nail-marks on the left thigh, and inflicting the Chhurita
nail-mark in the arm-pits.
(There is a mistake in the text here. In place of ‘Shariram* one should read
‘Sharire*—Transl.).
11. On the fifth day of the lunar month, a man should grasp the locks
of his beloved's hair with his left hand, make teeth-marks on her lips, and having
playfully rubbed the nipples, should passionately kiss her breasts. Similarly,
on the sixth day of the lunar month, the passionate man, after pressing his lips
on his beloved’s in his embrace of all her limbs, should scratch her thighs and
make the Cfiimrita nail-mark below her navel.
12. On the seventh day of the lunar month, a man whose passion is aroused
and who is ready for congress, should rub bis beloved’s yoni with his palm, suck
her lips, make nail-marks on the sides of her neck, the bosom, the cheeks, and
tightly embrace her. Thus he can cause her to get the orgasm.
13. On the eighth day, a man can arouse Ms beloved’s passion by lifting
up, pressing and kissing her breasts, making teeth-marks on her lips and nail-
marks on the navel occasionally, and embracing her round the neck. On the
ninth day, for the same purpose, he should rub his beloved’s yoni, directing his
palm towards the Nabhhnula (navel), and while pressing the breasts, make teeth-
marks on her lips and nail-marks on her sides.
14. On the tenth day, the best course for a man to excite a woman’s pas¬
sion is to kiss her head and make nail-marks on her neck, while with the left hand,
he must caress her different limbs such as the waist, the breasts, the thighs and
the middle of her back.
(There is a mistake in the commentary. ’Shravana* should be read as
’Shroni’—Trans!.),
 EROGENOUS ZONES AND RELATED TOPICS 27

I S. Or the eleventh day, the amorous man can melt a woman into love-
play by stroking and manipulating her yoni with his fingers, making nail-marks
on her neck, embracing her tightly, repeatedly kissing her lips and pulling them
with his own, and by laughingly thumping her bosom with frequent fist-blows.
16. On the twelfth day, the lover can arouse his beloved’s passion, by
first embracing her tightly and kissing her forehead and cheeks and then provoking
her to make teeth-marks on his lips. He, in response, opens his eyes wide and
conveys his pretended pain by uttering tittle gasps.
On the thirteenth day, he can arouse his beloved's love by simply kissing
and making nail-marks on her neck, pressing her breasts and making her gasp.
17. On the fourteenth day, however, desirous men should indulge in
Karikarakrida, by sporting with the alluring limbs of their beloved, kissing her
eyes and pinching her arm-pits.
On the fifteenth day of the lunar month, they niay cause a woman's orgasm
by letting their nails dance on her shoulders as if on a stage, and by titillating
her nipples and fingering her yoni.
 CHAPTER HI

CLASSIFICATION OF VARIOUS TYPES OF MEN AND WOMEN AND

THEIR RESPECTIVE UNIONS

A. Classipication According to Jat! or Physical Characteristics

(Having delineated the views of Nandikeshvara and Gonikaputra, the

author proceeds to outline the observations of Vatsyayana),
t. Men are classified into three categories:
— the Hare type, whose phallus^ measures six
— the Bull type, whose phallus measures nine angulas.
~ the Horse type, whose phallus measures twelve angulas.
Similarly^ women are classified into three broad categories:
— the Deer type, whose yoni measures six angulas.
— the Mare type, whose yoni measures nine angulas,
— the Elephant type, whose yoni measures twelve angulas.
{Aroha means the length of the phallus, and parihana means the depth
of the yoni).
2. There are three types of Satm Rata or equal unions, thus:
(a) The deer type of woman uniting with the hare type of man.
(h) The mare type of woman uniting with the bull type of man.
(c) The elephant type of woman uniting with the horse type of man,
3- There are two types of Uchcfia Rata or high unions, where the phallus
of the man is larger than the woman's yoni, thus:
(a) The deer type of woman mating with the bull type of man.
(b) The mare type of woman mating with the horse type of man.
Similarly there are two low unions (Nicita Rata) where the phallus of
the man is smaller than the woman's yoni.
(q) The mare type of woman uniting with the hare type of man.
(b) The elephant type of woman uniting with the bull type of mao.
4. There is, furthermore, one Atyuchcha Rat at or^ an excessively high
union where the partners are:
(fl) The deer type of woman and the horse type of man.
(Here, the phallus of the man is considerably larger than the woman's yoni).
Similarly, there is one Atinicha Rata., namely, an excessively low union
where the partners are:
* UngQ or phallus is used throughout to indicate a man's reproductive organ-
’ Aiiguh is the measure of a finger's breadth.
 VARIOUS TYPES OF MEN AND WOMEN AND THEIR RESPECTIVE UNIONS 29
(a) The elephant type of woman and the hare type of man.
(Here, the phallus of the man is considerably smaller than the woman's
yoni.)
Thus, we calculate nine different types of unions, based solely on the pro¬
portions of the lovers’ organs.
5. From these, the Sama RatOt where the respective proportions of the
organs of the lovers are equal, are declared the best. The two Uchcha or high
types are fairly good, whereas the two Nicha or low types, and the Atyuchcha
or excessively high type together with the Atinicfia or excessively low type are
considered inferior unions.
6. In the Nkfia or low type of congress women fail to be fully gratified
since the man's phallus is not sufficiently large to rub against and excite the sides
of the woman’s yoni,
7. Even in the Uchcha union, a woman does not usually experience pleas¬
ure, since the man’s phallus is too long for the smaller and softer yoni of the
woman, and initially causes excessive pain. As we have seen earlier Kama or
love is the direct offspring of the state of one’s mind and if this is unhappy or
painful, love will hit,
8. There are very minute and invisible germs called Krimt in the human
blood. Their movements are of varying intensity—mild, fairly strong and very
strong, and they are directly responsible for causing the itching sensation in the
woman's yoni.
9. With the admission of a firm phallus into the woman’s yoni, she experi¬
ences the slow but steady disappearance of the uncomfortable itching sensation,
but when the oozing be^ns, she experiences pleasure, and her pleasure increases
in proportion to the free flow of her fluid.
(While the process of oozing does yield some pleasure, the actual climax
is experienced by the woman only when the fluid flows freely).
In the beginning of the union between man and woman, there is a feeling
of pain, resulting in meagre pleasure. Both the man and the woman experience
pleasure only towards the end.
(The woman, when her fluid is released, and the man when his seminal
fluid flows profusely. If, in either case, the flow of fluid starts prematurely,
neither parly is satisfied).
10. In the end, the woman utters indistinct and hardly audible sounds,
writhes her body, feigns crying, gets extremely perturbed, and closing her eyes,
reaches a state of helplessness and lassitude.
11. In the case of both men and women, the final free flow of fluid can
be one of the three types;
30 RATI RAHASYA

(0 immediate,
(i'O after some time,
and (a’O delayed.
Thus, a further elassification of nine types of Itafas (unions) can be based
on Kala (timing), just as earlier we saw nine types based on the proportions of
the organs of the men and women.
There are three cases of Soma Rata (equal union):
(0 when a woman having an immediate flow unites with a man of a similar
type;
(/() when a woman experiencing the flow after some time unites with a
man of a similar type;
and (mO when a woman experiencing a delayed flow unites with a man of similar
type.
There are two Uchcha Ram (higher unions);
(i) when a woman having an immediate flow unites with a man having
flow after some time;
and (it) when a woman having her flow after some time unites with a man
having a delayed flow.
There are two Nicha Rata (lower unions):
(0 when a woman having her flow after some time unites with a man
who has an immediate flow;
and (ii) when a woman having a delayed flow unites with a man who has
his flow after some time.
There is one Atyuthcha Rata (excessively high union):
(0 when a woman having an immediate flow unites with a man having a
delayed flow.
There is one Afmicha Rata (excessively low union);
(0 when a woman having a delayed flow unites with a man who has an
immediate flow.
These, then, are the nine types of unions based on Kaia Bheda or the diffe¬
rence in the timings between the flows of the fluid of partners in a union.
12, Again, men and women can be classified in a third way according to
Vega or the intensity of their sexual urge:
(i) those having a weak urge or libido;
(I'O those having an urge of medium strength:
and (hO those having a strong urge or libido.
Accordingly, this classification also yields nine types of Rata (unions).
There are three Sama Ratal
(0 when a woman having a weak urge unites with a similar type of man;
 VAKJOUS TYPES OF MEN AND WOMEN AND THEIR RESPECTIVE UNIONS 31

(I'O when a woman having an urge of medium strength unites with a

similar type of man;
and (tit) when a woman having a strong urge unites with a man having an
equally strong urge.
There are two Uchcka R£ttai
(0 when a woman with low libido unites with a man having libido of
medium strength;
and (if*) when a woman with libido of medium strength unites with a man of
strong libido.
There are two Nicha Ratal
(i) when a woman with libido of m^ium strength unites with a man
having a weak libido;
and (ii) when a woman with a strong libido unites with a man having libido
of medium strength.
There is one Atyuchcha /lam:
(i) when a woman with a weak libido unites with a man having a strong
libido.
And there is one Atinicha Rata:
(f) when a woman having a strong libido unites with a man having a
weak libido.
Thus, there are nine Rata^ based on the intensity of one's libido.
13. The quiek flow of fluid, the ability to sustain teeth and nail marks
and other passionate acts, the desire for love—all these are symptoms of a strong
libido and their exact opposites denote a weak libido.
14. In the case of the middle category of a libido of medium strength,
the mean of the strong and the weak may be considered conclusive.
Thus, there are twenty-seven Ratos based respectively on the organic
proportions, the timings of the flow of their fluids and the intensity of their
libido, when a union takes place between a man and a woman.
15. From all these, Sama Rata (equal unions) are considered the best,
since the above-mentioned three contributory factors are equal between the part¬
ners. When these factors in the woman are directly opposed to those in the
man, the union is usually unequal and of the lowest type, like the union between
animals.
16. Even if one of these factors ts unequal, the union becomes unsatis¬
factory and therefore only fairly good, even though it is compensated for by
other (desirable) factors. The Atyuchcha and Atinicha unions belong to this class.
(As the Uchcha and Nicha unions have not been specifically mentioned,
it seems that they must be included in the fairly good class of unions—Transl.).
32 RATI RAHASYA

17. And now the physical characteristics of the various types of women
are being described—women such as the deer type and others mentioned earlier.
These descriptions of the differences in features, anatomy, natures and qualities
have been based on Vatsyayana’s observations,

The Deer Type of Woman

18. The deer type of woman has a shapely head with a thick and wavy
growth of hair, a small belly, protruding posteriors, small nostrils, and large
and beautiful eyes adorned with long Sashes,
19. Her lips, palms and soles are reddish; arms straight and delicately-
shaped; ears, cheeks and neck long, and her abdomen and thighs are not un¬
duly fat.
20. Her ankles are symmetrical, and her gait is like that of an elephant
in rut. Her breasts are firm and prominent, although her frame is delicate. She
has a genile nature, betrays little anger, but can be greatly perturbed by envy.
She eats moderately, but entertains a fondness for physical unions,
21. Her fluid has the fragrance of a flower, her fingers are straight and
her speech pleasant. Her yoni is deep, and measures six angulas. Her build is
quite erect and her nature affectionate.

The Mare Type of Woman

22. The mare type of woman possesses an unshapely head (not well-
rounded); thick and oily hair; quivering eyes, like the petals of a blue lotus:
and her ears and face are broad and long.
23. Her teeth are large and strong; her lips long; her breasts full and firm
like water-pitchers; arms strong but graceful; belly small, and hands soft as a lotus.
24. Her chest is wide, her speech is pleasantly halting. She is greatly per¬
turbed by jealousy. Her navel is deep and round, her abdomen is asymmetrical
but pleasing, her thighs even and short.
(The commentator has erred in commenting on this topic—TransL).
25. Her waist is broad, and she leans from the middle. Her walk is
leisurely and coquettish, her feet are symmetrical and pink; her mind is wavering;
her body delicate. She is fond of eating and sleeping, and is given to day-dream¬
ing about her lover,
26. She is disposed to phlegm and wind, and her fluid is yellowish and
smells like flesh. She has a strong libido and her fluid flows easily. Her yoni
measures nine angulas.
 I

1
1

Mare Type of Woman

■■ M
-

'i

Deer Type of Woman

Conr-Etepkant Type of WoTnan

 I^P'f !■

misK^^ m H +^hH

Ik if' I ^5?3

p'^piu
11^^^ '* H 11 "Hi Uj
&; 1If^ ^Uvr ll''U

1^ AijP /ff^KfEc
nVf-iii l^S ni-l \'unL / "4jEBn3uL
iff ' ifwiHl

Hare of M&tt Bud Type of Mon Horse Type of Matt

 vakioos types of men and women and their respective unions 35

The Elephant Type of Woman

27, The elephant type of woman is characterised by broad checks and

forehead and thick ears and nostrils. Her two palms, soles, arms and thighs
are short and broad. Her neck is curved, rough and thick and dun-coloured.
28, She entertains a continuous desire for indulging in congress; has a
deep voice and a heavy body, like an elephant’s. Her lips are long and drooping,
and her fluid flows profusely. She has an irriiable temperament, displays a yellowish
hue in her eyes and her fluid smells like that of an elephant in rut. She is also
given to sinning surreptitiousiy.
fHere the text appears To be corrupt—Trans!.),
29, She has many deficiencies and she is usually won over (forcibly) by
the use of the rod. Her yoni measures about twelve angulas.

The Hare Type of Man

30, Men of the hare type have large and reddish eyes, small and even
teeth, round faces, and arc generally quite well-dressed. Their fingers are well^
shaped and pinkish, their voices charming, their hair very soft and their necks
not too long. They are anxious for physical union. Their thighs, knees, feet,
hips and arms are thin and small.
(The text is corrupt in the last line—Transl.).
31, They eat in moderation, and do not suffer from too much pride.
They favour brief physical unions, are neat and clean in their habits, wealthy
and dignified. Their fluid is fragrant and they have a pleasant and joyful dis¬
position.
(The reference to the size of the phallus in ayama is conspicuous by its
absence).

The Bull Type of Man

32, Men of the bull type have large and erect heads, broad mouths and
foreheads, thick necks and ears, bellies like those of tortoises. They are generally
corpulent, with noticeably long arms reaching down to their sides. Their palms
are reddish, their eyes resemble lotus-petals, and their eyelashes are steady. They
have a disposition that is honest, good, true and sincere,
33. Their gait is like a romping lion's and their voices soft. They can
endure pain, are, by nature, generous, sleepy, unabashed and phlegmatic. They
have strong appetites, and their bodies have more marrow, and more acidity
36 RATI RAHASYA

and fat than other men* They usually experience happiness in the middle and
latter part of their lives.
(The v.l. given by Tripaihi in his commentary on N. S. XIV'3 means the
mucous smells like add—Transl.),
They are able to please all types of women, and their phallus measures
about nine angulas.

The Horse Type of Man

34* Men of the horse type are singled out by the fact that their faces, ears,
necks, lips and teeth arc long and thin. Their arms and sides are muscular and
fleshy; hair straight, thick and profuse. By nature they are extremely jealous,
sleepy and indolent, but very mature*
Their knees and limbs are not absolutely straight; their nails are beautiful
and their fingers exceedingly long; their eyes are large, long, aquiver*
(The commentator has unnecessarily referred to jangha—Transl.).
35, They have pleasant and grave voices, fast gaits, strong appetites and
very fat thighs (as in 111-33 above). Their natures are loving towards women
and they are quite truthful.
Their fluid and bones have all the requisites, and the former is like butter—
cool, thick, profuse and acid-smelling. They frequently feel thirsty. They are
flat'Chested and their phallus measures about twelve angulas.
36, If a man or a woman docs not fit into any of the classifications given
above because of slight differences in the measurement of their respective organs,
discretion may be exercised, and he or she may be included in the nearest class
and specified as belonging to the higher or lower subdivision of the class.
(If the measurement of the phallus or the yoni is a little more, it is better;
if it is a little less it is of an inferior category).
37, Where there is a mixture of the characteristics of the various types
of men and women described above, and of those that will be described here¬
after, the wise man will do well in gleaning the salient features before he categorises
that particular person.
 CHAPTER rv

GENERAL CHARACTERISTICS

B. Classification According to A^as^ha or Age

1. A woman under the age of sixteen years is classlUed as Bata or maiden;

thereafter, up to her thirtieth year she is Taruni or a young woman; from the
thirty-first to fifty-fifth year she is Praudha or middle aged, and beyond this age
she is declared Vriddka or old.
Also, if a woman is tall, dark, slim and low or narrow-waisted, and indulges
in unions very sparingly, she ts classified as Shlaiha, while if a woman is fat, fair
and short, broad-waisted and ever keen for unions, she is Ghana.
2. When a woman combines some qualities from each of these tw'o cate¬
gories, she belongs to the medium category. Again, the distinguishing feature
of both the Bata and the Ghana tj'pe is that they greatly enjoy detumescence,
while that of the Praudha and Sblatha type is that they yearn for tumescence.
(A woman classified as Tanoti is also Ghana and hence is not $x>ecificatly
mentioned).
3. We will now put forward the procedure to be followed in the case
of each of these different classificalions of women, and in this we are in full agree¬
ment with the procedures laid down in the work Gunapataka.
4. A Bata or a maiden can be won over by the offering of betel-leaf, gar¬
lands, fruit-juice, tasty delicacies and a deferential mien. Being young, she is
easily pleased by the gifts of beautiful ornaments, necklaces and other trinkets.
A Taruni is pleased with a sympathetic approach and a union which increases
gradually in force, A Praudha harbours deep love and an emotional attachment,
while a Vriddha for whom the different stages of love are over, is enchanted by
sweet talk and respectful behaviour.

C. Characteristics of Women According to PitAKum or

Body Humours

5. A woman whose bone-joints and ankles are not clearly visible, belongs
to the phlegmatic type. Her voice is soft and sweet and she looks like a lotus,
A woman whose bone-joints and ankles are dearly visible belongs to the bilious
type. Her limbs are warm.
A woman who is not soft, whose limbs are lukewarm and who prattles
excessively belongs to the windy type.
J7
38 RATI RAHASYA

(The text mentions Ruksfta but the commentator takes it to mean Krishna
and comments upon it as dark-coloured—Transl.)-
6. The phlegmatic woman gets the orgasm immediately; the bilious
woman gets it after some time and the windy type gets it after a long time. Again,
tn the phlegmatic woman's yoni the fluid flows freely; the bilious woman’s yoni
is very warm, and the windy type of woman's yoni has a thick hymen. The first
category again, pines for union during the Sliishira or winter months and Vasania
or spring; the bilious type, during Varsha or monsoon and Sharad or autumn;
the windy type during Vasanta or spring and Grishma or summer.
(The text is corrupt here. The season Grishma is conspicuous by its absence.
The commentator says that Sharad is not specifically mentioned but implied in
Varsha, He, however^ does not specify the type of woman who longs for cong¬
ress in Hemanta—^Transt.),
7. Whatever additional characteristics belonging to the various types of
women of different humours have been mentioned in Gunapataka will now be
further detailed, since their veracity has been borne out by experience.
8. A woman of the Shyama category possesses glistening nails, eyes and
teeth. She does not repent quickly. Her gait is dignified and her attachments
unwavering. The entrance to her yoni is coot, fleshy and pleasant to the touch.
The Shyama type belongs to the phlegmatic class. She is the best among
the three types mentioned below (Shyama does not mean dark-coloured as the
commentator says. FCanchinatha is definitely wrong. Even Jayamangala, the
commentator of Bhattikmya (5/18), has not understood the meaning. The word
Shyama is very technical- It is applied to a woman with peculiar physical, psycho¬
logical and sexual characteristics. Bharatamallika has correctly pointed this
out in his commentary on Bhatiika^ya (5/18). Utpalamala says, ^Shyama means
one who has reached the middle stage of youth’ and accordingly Maliinatha in
his commentary on Meghaduta 83, comments on the word Shyama as Yuvati,
i.e., a youthful woman—^Transl.),
9. She is, by nature, pleasure-loving.
(This should go along with Shyamas' description above in 8. The commen¬
tator has no comment on this point—Transl.).
The bilious type of woman comes next in order of preference. She
has a fair complexion, large breasts, and pinkish nails and eyes,
(The commentator quite arbitrarily adds that her palms are pinkish too—
Transl.).
10. Her sweat has an acid odour. One moment she is angry and the
next moment she is happy. She favours the cold and avoids the heat, Her
yoni is quite loose, (v.l. it Is very warm and loose.)
 GENERAL CHARACTERISTICS 39

It. She ts intelligent and proficient and assumes a delicate demeanour

during the union.
12*13. The windy type of woman is the vilest type of w'omaa. Inces¬
sant fy chattering, fond of aimless wandering, she has a dusky colour, resembling
that of a slightly burnt tree. She is gluttonous; her limbs are not delicate; her
hair is rough and split at the ends, while her nails and eyes are dark. She is fond
of rough and forceful unions. Her yoni is as rough as a cow*s longue.
(When some characteristics from each of these groups overlap in a woman,
she should be typed as having mixed humours).

D. Classification According to Sattva or

Character Traits

14. A Bevasau va woman possesses a pure and sweet-smelling body; her face
is very bright. She is well-bom and has many admirers. She is utterly beautiful,
A Yakshasativa woman does not feel shy in the presence of elders. Her
lust is easily aroused, and usually, she is anxious to enjoy unions in sylvan sur¬
roundings, drinking taverns, seaside resorts or mountain retreats.
15. A Narasattva woman is blessed with an unassuming nature. She
is gifted and hospitable, and not In the least put out by fasting.
(The extant text is corrupt in the second line—Transl,),
A Nagasattva woman is given to excessive sighing and yawning, and to
wander-lust. She sleeps a great deal, but is never completely relaxed.
16. A woman is declared to belong to the Gandharvasatim group when she
is free from anger, accompitshed in the arts of vocal and instrumental music as
also in the Art of Love. She favours bright and dazzling garments and is very
fond of garlands, scents and incense.
17. The Pishachasativa woman is undignified, gluttonous and possessed
of very warm limbs. She drinks intoxicating potions, eats meat and other impure
things.
The Kakasattva woman has a constantly roving eye; she is plagued by
frequent hunger-pangs and is cursed with a very fretful nature.
18. The Vattarasam^a woman has a distracted look and an unsteady
mind. In love-play she is fond of fighting with the help of her teeth and nails.
The Kharasattva woman indulges in contrary talk, and loves to inflict pain
on her paramour during unions.
19. However, from the classifications of women given heretofore, such
as those based on Jati or physical characteristics (deer type, etc.), or those based
on age (Bah, etc.) or those based on Prakriti or humours (phlegmatic, etc.)
40 RATI RAHASYA

or those based on Sattva or character traits, the classihcation of the greatest

importance is undoubtedly that based on Prakriti or humours.
Our own conclusion is now stated briefly.
20. Whether a woman is Shyama or phlegmatic or of the mare type or
of the deer type; whether she belongs to the Candharva^ Yaksha^ Nora or Deva-
sattva type; whether she is a maiden or adorned with the beauty of growing
youth—only one thing is of the gr^test significance for the worldly mortal—
that she is bom with beauty solely for man’s supremest happiness.
21. Now, once a woman is married, the presiding factor is Prakriti or
humour, rather than Jati or Sattva or age or organic proportion, and accordingly,
Kamisuta and other writers have laid down the most appropriate course of action
in their case.
22. The causes of the moral downfall or going astray of married women
arc given below:
—freedom from proper restraint
—living at her parents’ house
—freely mixing with others on pleasure trips and festive occasions
—^meeting and discussing topics with other men in social parties and
group discussions
—living in a distant land
—continuous contact with a woman of loose morals
— a lapse in one’s standards of living
husband's advancing age
—jealousy
—travelling (away from home)
23. Women also become averse to their lovers under one of the following
conditions;
—in poverty
—with intolerance
—with unclean habits
—where generosity is wanting
—when there is ignorance of the Ait of Love
—with impudence or hate
—with want of mercy
—when they are prohibited from wearing ornaments
—suspicious behaviour and fault-finding
—with over-exertion
—with separation
—with hard-hearledness
 27. Tht fond embrace. Scuiptvre from Visbwamtka iet»p!e.
Kkajuraho. i I th century. {Photo. Shoma KilanjaT).

IS
2
28* C!ose-iip of mithuna figures from the Lukshamarta temple,
Khajurt^kon U/ft eentury. (Photo, Darskun Latt)^

29, Sculptured panels from the south side of theKondoriyo hfahadev

temple, Kh^jurcho, llrA century. (Copyright^ Deportment
of Archaeology^ Coyertiment of India),
30. Demih of sculptured figures from Khojaroho, llth mitiiry.
{Photo, lifoti Rom Jitin}.
 GENERAL CHARACTERlSnCS 41

(The third line of the text appears to be corrupt. The commentator refers
to Tripti. Perhaps the oriff naJ text meant repeatedly indulging in congress even
after it is done once and coitus ititerruptus—TTansl.).
24, When a woman becomes thus averse to love» she does not look at
her husband, nor does she entertain his good friends; in fact, she shuns tliem
and does not co-operate in any way. She feels pained and dejected on meeting
her husband, rejoices in their separation, and wipes out her lover’s kisses since
they have no appeal for her.
She becomes Jealous, avoids replying lo his questions, and when her lover
touches her, she becomes cross, and finally without a word, she turns her back
on him in bed,
25, On the other hand, the symptoms of love in a woman, as described in
Gunapataka, are common to both the experienced as well as the inexperienced
woman. They are described below.
26, (Having described the behaviour of the woman averse to love, he
proceeds to describe that of the woman in love—Trans!,).
When a woman’s lips tremble and her eyes rotate like fish in a pool; when
she braids her dishevelled hair over and over again; when she exposes her erstwhile
hidden breasts to her lover’s gaze, and when, at the slightest excuse, she bares
her thighs; when her firmly-tied girdle is loosened, (he woman is ready for
love.

Indirect Svmptcws

27. They arc signs of love, even though indirect, when a woman takes
pleasure in other's account of her lover’s good fortune, or his handsome look, or
Jokes at the cost of his virtues and love. Also, when a woman greets her lover’s
friends from a distance and appears pleased, she is undoubtedly showing signs,
however indirect, of being in love.
28. A woman under any of the following conditions gives great pleasure
in congress:
—one who is fatigued after a road journey
—one who has recently been ill
—one whose limbs are relaxed after dancing
—one who has delivered a child only a month ago
—and one who for last six months is pregnant
Again, women can greatly satisfy when
— they unite with a man after a separation
—they are ptopitiated after a quarrel
42 RATI RAHASYA

—^they bathe at the end of their menstrual period

—they partake of intoxicating drinks
29. In the initial unions, women derive little pleasure, since they have
hardly any emotional link with their partners. Whatever the reason, it is a fact
that they attain satisfaction only after a long time. As they obtain more and
more satisfaction, during the later unions, they become sufficiently well-equipped
emotionally to derive satisfaction in a shorter time.
In the case of men this order is reversed.
(Men, at the time of the first sexual congress, are well equipped emotionally
and derive sexual satisfaction soon; at the second time they have little emotional
background and get sexual satisfaction after a long time).
 CHAPTER V

PROVINCIAL CHARACTERISTICS AND CUSTOMS

L Generally speaking, men fulfit their passions much earlier than women,
and keeping ibis in mind, men should approach women in such a way as to cause
them to respond more quickly.
2. Accordingly, women can be subjugated easily, if a man bears in mind
her provincial peculiarities, her predilection for a particular season (winter, sum¬
mer, etc.) and her constitution (phlegmatic, bilious, etc.); and by repeatedly
kissing her erogenous zones, he can make her more relaxed, responsive, and can
gratify her speedily.
3. Despite a susceptibility for a premature discharge of fluid, a man is
able to enjoy a union extendedly, provided he commences it slowly, and provided
he keeps his own mind under control, and when the need arises, is able to turn
his thoughts towards other subjects like rivers or woods or caves or mountain
fastnesses or refuges in limes of distress.
(Shlaiha connotes an easily aroused man).
4. For instance, when a man observes and thinks upon the flitting of
an over-active monkey from one branch to another, his phallus fills up with his
fluid but does not overflow.
5. When love is engendered between a man and a woman during hunting
or sculpturing or dancing or playing any musical instrument, such as the Veena
or during the pursuit of any other of the Arts it is termed by wise men as ‘love
born of practice.'
6. When, however, love is engendered neither by the practice of the Arts
nor by any mere sensual attraction but born out of some mutual mental activity,
it is said to be ‘bom of thought.' For example, when a woman is initiated into
the art of embracing and kissing and so on with the help of an eunuch, she may
perhaps experience the love ‘bom of thought.’
7. When love between a man and a woman is engendered through a
resemblance to a loved one, wise men call it ’love bom of confidence.’ When
love is bom principally through the senses, that love is termed ‘sensual
love.’
8. So far, we have related the natural characteristics arising out of one’s
disposition or age or such other factors. Now what is described hereafter relates
to one's peculiarities arising from native and provincial environment. These
should be borne in mind when a man courts a woman.
4S
44 RATI RAHASYA

Provincial Characteristics of Women

9. The women of the central part of the country are pure-minded and
detest kissing and the making of nail and teeth marks.
The women of Bahlika and Avanti provinces are similar to them, but they
enjoy OiUra Rata (different postures for congress).
(The commentator has misunderstood the meaning of Chitra Rata', it is
fully described in R.R. Ch. 10~Transl.).
10. The women of the Abhira province crave for embraces, abhor nail
and teeth marks but are susceptible to sadistic acts and kissing; similarly the
women of the Malava province.
11. The women native to the banks of the river Iravatl, Stndhu, Shatadru
and Chandrabhaga, and those who live between Vipat and Vitasta cannot be
won over without first playing with their erogenous 2one$.
(There are two serious errors in the commentary. Bhagabhushana should
have been written Bhagachushana. The author perhaps intended that a woman
living on the land w'here these rivers flow, are won over by oral coitus. (Iravati
is Ravi, Sindhu is Indus. Vitasta is Jhelum, Vipat is Beas, Shatadru is Sutlej, Chan-
drabhaga is Chenab.) The conmieatator says that in winning them over* oral
coitus should precede other factors of tumescence—TransL),
12. The Gurjari woman has a thick head of hair, a slim body, large and
full breasts and beautiful eyes. Soft-spoken, she is pleased by both tumescence
and detumesccnce, although once in a while, one comes across an exception.
(The last line of the text appears to be corrupt. As it stands it is meaningless.
Even the commentator has not noticed the discrepancy—TransL)
13. The woman of the Lata province has a strong and passionate urge,
Delicately-limbed, she makes many rhythmic movements during union, is ever
anxious for embraces and is utterly subjected by post-intromission strokes and
nail and teeth marks.
14. The woman from the Andhra province, delicate-limbed and grealiy
afflicted by sexual hunger, is, however, indelicate and misbehaves during unions.
She quite often takes an active part in tumescence and practises the Vadava posture
in congress. (Vadam—See R.R. Ch. 10.)
15. The women of Strirajya and Koshafa province experience much
itching within their yonis, and are therefore pleased by all manner of sadistic acts,
particularly by the rough introduction and pressing to and fro of the artificial
phallus.
16. The women of Maharashtra are accomplished in the sixty-four Arts
of Love, and during unions are quite uninhibited and utter vulgar and disparaging
 PROVINCIAl. CHARACTERISTICS AND CUSTOMS 45

words. The women of Patalipuira, similarly, are vulgar-tongued, although they

prudently confine their insults to the privacy of the inner apartments.
(The commentator has not mentioned, even though he has quoted, two
Sutras from Kama Sutra, II-2-5/6. However, at the end of the verse quoted by
him, following the abovementioned two Sutras, he has mentioned Vatsyayana.
But he has quoted the two Sutras with "eke ahiih.' Does this mean that he took
these two Sutras to be not by Vatsyayana?—Transl.).
17. The women of the Dravida province have a profuse flow of fluid,
and are much excited by the introduction of the finger into their yonis and by
the exterior acts of kissing and so on. They attain their climax quickly during
the initial congress.
18. The women of the Vanavasa province conceal their own physical
defects but ridicule those of others. They can endure all the acts of love (such
as nail-marks) but themselves have only an average urge for the satisfaction of
their passion.
19. The woman from the Gauda and the Vanga provinces has delicate
limbs and a sweet-sounding name. She is always anxious for kissing and embracing.
She is slow to warm up in unions, but once aroused, her actions are prolonged,
rough and cruel. She has heavy buttocks and is therefore also termed Nitambim.
(The commentator has not translated the word yliwm—Transl.)
20. The woman of the Kamarupa province has a pleasant voice. She
is soft and delicate, like a Shirhha flower, reaches the orgasm often, and that also
by the mere touch of the hand (of her lover). Once aroused, she merges and drowns
herself completely in love.
21. The woman of the Utkala province is perturbed by a great urge for
love. She is fond of teeth and nail marks, and particularly fond of oral coitus.
The woman of the KaJinga province is like that of Anga and Vanga provinces.
(The commentary on this verse is conspicuous by its absence. The v.l.
given in the Tippani is more acceptable—Transl.).
22. Muladeva describes the woman of Utkala thus: she is quite unabashed,
cherishes strong attachments, longs for continued unions in the battle of love,
and is gratified by oral congress, fist blows and nail-marks of various types.
23. Munindra has also described whatever little he could about the pro¬
vincial characteristics of some women, and in the same way, a man should glean
for himself as much information about the provincial habits of other women as
possible. But, above all, the most important characteristics are those that one
observes from one’s own experience, and even among those, those characteristics
which are inborn in a woman are far more important than those accruing from
provincial habits.
46 RATI RAHASVA

24. Thus, only a few characteristics governed by the environment in

which some women live have been given, and this lead should be taken to study the
characteristics of the w'omen of other provinces and distant lands which it is not
possible to mention here. However, one should discover women's natural charac¬
teristics through one's own judgment and experience, and between the two, those
that are proved (by one’s own experience) arc the stronger and more important ones.
25. So lovers would do well to indulge In tumescence and detumescence
only after a detailed consideration of a woman's characteristics arising from the
depth of her organ, the duration for getting the orgasm, libido, nature, provincial
habits, inborn characteristics, age group and body humour.
(The commentator is wrong at some places in his commentary on this
verse. Pramana and Avasiha mentioned herein refer to those of the women.
In the last line he has omitted to comment upon the word Rata which is speci¬
fically mentioned by Kokkoka—Transl.),
26. First of all, a man should commence love with tumescence, and even
there, the first necessity is embracing. Embracing can be of two types, dictated
by the condition of his beloved:
(1) one in whom love is not yet engendered, and
(2) one in whom it is already engendered.
Thereafter, embracing is in twelve different modes—(four in the case of
Abhiikta and eight in the case of Upabhukta).
 CHAPTER Vt

EM BRACING

1. Experts in the Art of Love term it the Sprishtaka embrace if a man

passes a woman confronting him and in the process touches his limbs with hers.
2. When a woman, bending to pick up something, finds a man looking
here and there, and then sitting, and she in turn projects her breasts against him.
while he reciprocally holds her fast in his embrace, it is termed the Vitidhaka
embrace.
3. When in going to social or religious festivals oi in total darkness, the
bodies of a man and a woman collide with each other, it is named the Udghrishtaka
embrace. The same kind of embrace, when the lovers are pressed against a watt,
is catted the Pidita embrace.
4. The above-mentioned four different ways of embracing have been
expounded for arousing desire among inexperienced maidens, fn the case
of those who have already enjoyed unions, however, eight other modes have been
described below,
5. When a woman, with supple limbs, entwines tbe body of her beloved
with her own limbs, as a creeper circles the trunk of a tree, and with tow sounds
of ■'si'Si’ gently draws his face towards her so that she may kiss him alt over his
face, it is termed the Vesfitita embrace.
fWhen the lover is standing in front, she entwines his thighs, side and neck
with her legs and hands, lowers his face and moves her face also. She pretends
to cry also. All names are self-explanatory—^Transl.).
6-7, When a woman, much perturbed and sighing profusely, grasps with
one of her legs the leg of her lover, while she rests her other leg on his thigh: and
when, with one hand, she encircles his waist, while with the other, she strokes his
shoulder: and when, as if like a creeper climbing a tree she reaches up to her
passionate lover w’ith urgent desire, it is termed the Vrikshad/urudfta embrace.
So far, the embraces between a man and a woman have been described
where the man assumes a standing position. Now forthwith, their variations
will be described where the man assumes a sleeping position.
8, The kind of embrace where the thighs and the amis of both lovers
are pressed very tightly against each other's in continued embrace, as if in compe¬
tition, has been termed Tiiatandula by Munindra (Gonardiya).
(The word Nis/aranga is used to mean close embrace. This embrace is
done by the male lover—Transl.).
9. When the woman sits facing her lover on his lap or in the bed, while
47
4ft RATI RAtlASYA

he embraces her closely, aod when both have no other thought besldes thc other’s
love and when this leads to the mingling of their bodies, it is termed the Kshiranira
embrace,
(The lover letting the beloved sit either on the bed or on his lap, facing him,
and then having embraced her closely, brings the phallus into contact with her
yoni. She on her part, keeping her thighs out, while sitting in his lap, faces
him. Then, having mutually corresponding size/depth and libido, they remain
sealed as if mingling into each other’s body. They reach oneness, as it were,
and this is called Kshiranira embrace—Transl.),
10. The sages who are familiar with the views of the Muni (the ancient
writer) term it the Urupagudha embrace when the excited man presses with his
own taut thighs, the thighs of the equally excited woman, exerting pressure with
pincer-like movements.
(Saftdamsfia is placing one thigh over another closely. The man keeps
the thighs of the woman between his thighs and then closely embraces her. The
commentator does not clearly state as to who is referred to by the word Muni—
Transl,),
11. The foremost among the Munis calls it the Jaglwnopashlesho embrace,
when, with hair dishevelled and bodice slipping from its place, the woman grasps
her lover’s waist between her thighs, tries to mount him, and thus wishes to make
nail and teeth marks on him or to kiss him.
(Here also the commentator does not identify the person referred to by
the word Munindra—Transl.).
12. The Stanaiitigana embrace ensues when the beautiful-Iimbcd woman
throws her whole body impetuously against her lover’s, pressing her large and full
breasts upon his chest as if thereby to effect an entry.
The Loiatika embrace is one in which the woman places her own lips against
his lips, her eyes against his, and pits her forehi^d against his forehead.
}

3L The norih-cenrmt pane! of scatplnred figures from Vish-

wauafha temple, Khajuraho. 11 tk century^ {Copyright^
Departmeni of Arcbaeohgy^ Government of Indio).

32. Mithuna figures from the Vishwanatha temple^ Khaju-

rako, i I th century. (Copyright, Deportment of Arch¬
aeology^ Government of India).

32
 tcmpie^ K&fiarak, IJ/A t&ninry. {Copyriz^h /?f*
porimrnt of Anho^ahgyt Covcrfimrni of fadioh

34. Delaif of mirhuna figures from the Deri Jogdomba

fempie, Kh&juruho^ H/A t-emury. {Copyrfght,
DeparfmenJ of Architeofog)\ Goverfimeor of fnditt).

35. Emhrodng couple from the sculpfures of Khujurctho.

1 ]^A cenuif}\ {Fholo^ Mofi Ram Jain).

36. Close-up of o coupte from the Sun lemple, Konorak.

]3th century, (Copyright^ Department of Archaeo-
fogy^ Government of India).
37* A pmel/rom iheKandariya Mahadev
tempk^ Khajurahi^. 1 irk eertt^y-
(Photo, Shoma Kilanpr].
 CHAPTER VH

KISSING

1. The anatomical parts considered most suitable for kissing are: the
eyes^ the neck, the cheeks, the lips, the interior of the mouth, the breasts and
the forehead.
But the people of Lata province, by native habit, derive especial picture
by the additional kissing of the loins, the reproductive organ and the ann-pits.
2. The Nimitaka kiss occurs when a woman, forced by her friends to
be united with her lover, stands with upturned face after having brought
her own mouth in close contact with her lover’s.
When the woman endeavouis to clutch her lover’s lips in the inside of
her mouth, but is prevented from doing so by the trembling of her lips, it is called
the kiss.
3. The Ghattita kiss occurs when the woman grasps the lips of her lover
with her own lips, and then explores his mouth inside with her tongue, while
with her hand, she closes her lover’s eyes.
These three kisses are to be indulged in by maidens (or newly-wed wives).
4. When a woman’s back faces a noan, and he, with his hands on her
chin turns her face round towards his own and when they both kiss thus, it is termed
the Bhranta kiss because of the lover approaching the beloved from an oblique
position, , j * *1.
5. The Pidita kiss occurs when pressure on the bps is exercised in tne
foregoing two modes of kissing.
It is called the Vighatita kiss when the lover pulls the lip of the woman
with his fingers and simultaneously presses it with the tip of his tongue.
When, however, this is done without the touching of the teeth, it is termed
the Afod<i kiss. (‘Pidana’ means ‘Chushana, i.e., licking Transl.)
Similarly, when the lover bites her upper lip, it is termed the Uttarosktha
kiss
6 If either the beardless lover or the gentle lady draws the beloved’s lips
into the cavity made by his or her own lower lip, it is caUed the Semputa kiss.
Further in this position, when accompanying sounds are made with the
tongue it is called the AmiraJam kiss. (The Tipjxmi clarifies that mwyvdiha
is another name for this kiss. TTiere are four sub-varieties of this kiss, viz.,
Aalarmukha, Dashma. Mva and Tala chumbeaa. The commeototor has wrongly
commented on Jihvarana as Jihyashabda. The author meant the battle of tongues
and not sounds—Transl.).
49
50 RATI RAHASYA

The variants of the Samputa kiss are given below;

7, It is named Mridu when softly done
Santa when evenly done
Avapida when pressure is used
Abbyarthita (v.I. Anchito} when one has to incline in order to do it.
(The text is corrupt here. No text gives Abhyanhita. The other reading
‘Anchita' is mentioned by other writers. The Tippani clarifies this and adds
that when one indulges in kissing parts other than the mouth and does it softly
it is Mridu. Sama is done on Urusandhi, the bosom and the armpits. Fidifa
is done on the cheeks, the armpits and the Nabhiniula, Ancbita is done on fore*
head, the chin and sides—Trans!.),
Thus, the variants given here if used on the suitable parts of the body,
are self-explanatory.
8. If the lover, returning late, finds the woman who has at last gone to
bed or who perhaps feigns sleeping, and goes up to her and kisses her, it is termed
the Pratibodha kiss. Done otherwise, this kiss is termed Chbayika.
9. When either the man or the woman kisses the beloved*s reflection in a
express renewed love, it is termed the Sankranta kiss. Also, when
this is done to the beloved’s shadow or to the picture of a child (who reminds
the lover of the beloved) it is the direct expression of love, and is similarly termed
the Sankranta kiss,
. , commentator refers to the reflection in a mirror, the pillar studded
with jewels, crystals, etc., and water. By Pratikrm he refers to images. He
refers to children separately. Perhaps this is incorrect. The author means the
drawing or the painting of a chUd—Transl).
 CHAPTER VITT

MAKING NAIL-MARKS

1. Nail-marks are usually made by persons \^ith a strong libido, and

usually on the following anatomical parts:
The arm-pits, the shoulders, the thighs (Jaghana), the breasts, the sides,
the back, the bosom (the place between the breasts) and the neck.
Nail-marks should be made principally under these circumstances:
—during the first union
—at the time of a union after a quarrel has been appeased
—after menstruation
—while drinking intoxicants
—on embarking on a journey
—if a separation is imminent
(Pravasmia means travelling in other provinces and Viraha means separation
for a short time without going out of the province—TransL).
2. The making of nail-marks depends on certain natural and provincial
habits, and the same can be said of teeth-marks. Persons of a strong or ultra¬
strong libido generally possess pointed nails.
Good nails must have a good growth, cleanliness, softness, brightness,
absence of cracking or lines.
3. Nail-marks are usually made to cause horripilation, and should be
so smalt and indistinct as to be almost unnoticed. They are accompanied by
the *chata-chata’ sound at the end.
(The Chhurita nail-mark is made with the nails of the thumb and the index
finger on the cheeks, the breasts or the hips. These are proper anatonucal parts
for Chhurita nail-mark—Transt.).
4. The Ardhachandra nail-mark is curved like a crescent moon, and most
suitably made on the breasts, the neck and the throat. When two such nail-
marks are made facing each other, it is termed the Mandalaka nail-mark by
Munindra.
The anatomical parts most suitable for these varieties are the space just
above the yoni, and the yoni itself, and on the thighs.
When these marks are made in a row more than two or three anguhs apart,
they arc called Rekha.
(The commentator does not identify Munindra as in R.R. VI-ll but unlike
R.R, VI-8—TransL).
5. Experts in the Art of Love call it the Muyurupadoka nail-mark when,
5>

43033
52 RATIRAHASYA

with the ihumb-nail below and the other nails above, pressure is gently applied
and worked up from the bottom of the breast towards the nipple,
6. The Shashapluta nail-mark is made with all the nails on the upper
part of the breast When it is made on the breast the reproductive organ and
the back, it is termed Utpaladala^ which is self-explanatory.
Smarananha nail-marks are usually inflicted by the lover on the beloved
to serve as a reminder while the lover is away on a journey. They are usually
three or four deep lines, made either on the breasts or on the reproductive organ.
(The text is rather corrupt here. The name is not distinctly given. The
commentator also does not clearly give it—Transl.),
 CHAPTER IX

MAKING TEETH-MARKS

1. Teeth which are glistening and white at the edges, neither too long
nor too short, glowing with natural lustre and placed evenly and closely together
are considered excellent. The proper anatomical parts for making teeth-marks
are the same as those for kissing, but with three exceptions, namely, the inner part
of the mouth, the upper lip and the eyes.
2. A teeth-mark made simply on the Up as a token of love is called the
Gudhaka, The teeth-marks made on the lips and the left check are called Uie
Vchchhunaka. It is called Pravalamani when pressure is exerted while making
teeth-marks on the lower lip (or on the cheek). Proficiency in this art can
only come with repeated practice.
(The commentator has wrongly mistaken Pichm with Uchchhumka—
Transl.).
3. Ii is called the Bindu when a small teeth-mark, the siase of a sesamum-
seed, is made with only two teeth in the centre of the lip. (When all the teeth
are used, the result is different.)
When rows of such teeth-marks are made with aU the teeth, sharp and
pointed, they look like ornaments on the armpits, the forehead, the neck and
the thigh-joints, and are termed Mani and BinduifiolQ,
4. When, with the shaip points of uneven teeth, a circular design of
teeth-marks is made on the ridges of the breast, it is termed Kkandabhraka.
When a teeth-mark outlines a part of the body and then becomes oblong,
red and deep-coloured in the centre, and when this serves as ornaments to the
breast and back, it is termed the Kotaebarvita.
(KoJacharnta literally means ‘bitten by a hog').
(This chapter is called Bahyarata, The commentator also comments on
on it accordingly- It should have been named Z?a/jmJAifcara~Traasl.).

S3
 CHAPTER X

POSTURES FOR CONGRESS

1. The tovcr, suitably dressed, should seat his beloved and her attendants
to his left in the apartment which is hower-bedecked, decorated with garlands,
fragrant with incense, and brightly illuminated, and then proceed to deck her
with various ornaments while speaking sweet whisperings of love, {Siivesha
includes ornaments, cosmetics and flowers besides garments. Saitachara denotes
Vidushaka also who accompanies the lady-love.)
2. Having gently hugged his lady-love round the waist with his left hand,
the lover should touch the hem of her garment, the breasts and the waist with
his other hand over and over again. Thus, after arousing feelings of love in
his beloved’s heart in others’ presence with anecdotes and songs, he should sud¬
denly cut short his soft whisperings and dismiss the attendants.
3. Then, kissing her on the forehead, the chin, the cheeks, the lip of her
nose, and frequently her palate and her tongue, he should make the Chhurita
nail-marks on her abdomen, her breasts and her thighs, while laughing at her
hardly audible cooings. Thus, keeping a steady mind, he should gently make
her recline and proceed to untie the knot of her lower garment.
4. If she happens to be still not fully aroused, the lover should continue to
kiss her on the checks, place his lips against her lips, embrace her with both hands,
and pressing the tip of his phallus against her yoni he should titillate her clitoris
with his fingers.
5. The yoni is of four types. Ii can be soft like a lotus inside; or it
can be taut, tike fingers held tightly together; or it can be slightly wrinkled; or
it can be like the tongue of a cow. The first is the most supple and praiseworthy,
and each succeeding type, less so.
6. There is a Nadika (a nerve-centre), resembling a phallus, in the centre
of the vagina, which Is known as Madanagantotiadola. When this is manipulated
with two fingers, it generates the flow of the woman’s fluid. Experts point out
that this together with the KamaiapatrOf is the motivating force behind the female
reproductive organ.
7. The part situated above the female organ and which resembles the
shape of a nose is called the Msdofiachhatra, and is associated with a number of
Modosfiiros. Near it and inside, is the Funiavhandra Nadi which controls the
mucous fluid.
S. There is also another nerve-centre which controls ail the other three
mentioned earlier (namely, Madanadola, Ma/tmathacfthatra and Purnachoftdr'd)
54
 POSTURES FOR CONGRESS 55

and which is also susceptible to jnampulation by fingers. The fingers may be

used either singly or with different formations such as the Karikara or Phanibhogv
or Ardhendu or Kaniankusha or such other variant.
9. Even a hard-hearted woman can be won over and greatly aroused
by the handling of this Nadi with the index and the middle fingers. In tWs way,
accompanied by the making of nail and teeth marks, kissing, embracing and
manipulating her organ, a man may greatly excite a woman during the union
of love.
10. When a man has thus fully aroused the passion of his beloved, closely
following her particular preferences, dictated either by native customs or by inborn
characteristics, he should observe the state and progress of her yoni and accordingly
adjust that of his own phallus.
[ I. If the mouth of a woman’s yoni has been loosened and needs to be
tightened; or, conversely, if it is tight and must be loosened, it can be done by
pressing her thighs together or by opening them wide. This results in the asana
named Vivritoruka, which is particularly useful for widening the mouth of the
yoni.
12. In Nkha Ram, the impassioned woman contracts her yoni by the
use of her thighs while in Uthcha Rata she dilates it. In Sama Rata she keeps
it as it is in the relaxed, sleeping position.
(The Tippani explains thus; When a male of the Vrisha type, having his
phallus nine angtdas long, unites with a woman of the elephant type having her
yoni twelve angulas deep, the latter presses her thighs together as the yoni is deep*
In the other case, when a woman of the deer type, having her yoni six angulas
deep, unites with a man of the horse type, having his phallus twelve angulas in
length, she widens her thighs so as to widen the yoni, it being small—Trans!.)
3. The learned Muni has named five types of postures serially thus :
—Unanat or tying on the back
—Hryag, or lying on the side
—AsUaka, or sitting
^Anatay or bending on all fours, like animals.
Now I shall describe in detail the peculiarities of each of these.
(The commentator here identifies the Muni as Vatsyayana—Transl.),
14. Among the group of the Vttatm type of postures for unions, two belong
to Sama Rata {Gramya and NagarakaY three to Uchcha Rata {Vtphullaka, Jrim-
bhimka2Ji^IndranikaY four to Alpa or Nicha Rata {Samputaka, Piditakay VeshtUa
and Vadavaka). The Muni has mentioned these without giving any particular
priorities. (In Tiryagy Asitakay etc., the peculiarities are shown but Satm and
other Ratos are not mentioned—^Transl.)
56 RAH RAHASYA

Twbnty-six Uttana Asmsas

15. When the woman lies on her back, and rests her own thighs on the
thighs of her lover who sits facing her, it is called the (1) Gramya Asarta. The
same becomes (2) Nagiiraka if in doing this, the woman extends her thighs beyond
his waist.
16. In the (3) UtphuUaka position, the woman tying on her back, lifts
her posteriors with both hands and thus raises her yoni while both her knees
are bent above his posteriors, and he keeps squeezing her breasts with both hands.
17. If the woman raises her two thighs and unites with her lover, and if
in this inclined position, she moves them back and forth and widens her thighs
and yoni, it results in the (4) Jrimbhitaka mode, according to knowledgeable
persons.
(In his commentary on the Kama Sutra, Yasbodharahas mentioned apasaram
i.e,, movement, for both the persons. The commentary is defective in the last
line of this verse—Transl,).
18. It is called (5) Indranika when the woman clenches her two thighs
together and then turns on her side and caresses her lover's knee, This is accomp¬
lished after much practice.
19. The (Q Samputaka position results when the woman, having loosened
her yoni by spreading her thighs apart, clasps them again close together. Samputaka
can be of two kinds, depending on the woman's position. If she is lying
straight on her back, it is called Uttana Samputaka, and if she is lying on one side,
it is called Parshva Samputaka.
It becomes (7) Pidita Samputaka if after clasping the thighs together,
additional pressure is applied.
20. This Nipidita action becomes (8) Veshtita when the woman also crosses
her thighs, and when she grasps the erect phallus with the Lips of her vagina,
it is called (9) Vadavaka.
(The woman experiences the throbbing of the phallus by holding it between
the lips of the bhaga. Or when she grasps the still phallus, it becomes tike the
organ of the horse. Hence it is termed Vadavaka, When the lover holds her
legs up, it is Jnmbhitaka; when the lep are bent, it hPiditaka; when the thighs
are covered, it is Veshtitaka, When the phallus is tightly held as is done by a
mare, it is Vadavaka, Generally this is possible after much practice. These types
are according to Babhravya—Transl.).
21. When the man holds up his beloved’s legs in a vertical position and
then embracing her, effects the union, it is called (10) Bhugna.
When the woman’s lep are folded and pressed against his bosom, it is
38. Mithuttofigarts/romfittajuraho. \ I th century,
{Fhato, MoH Ram Jain).

39. Panel of mithma figures from the Kanduriya

Mahadev temple, Kkajuraho, IlfA century,
{Capyrighi, Department of Archaeology.
Government of it^ia).
40. Mkhmaftgurts from the scutp*
tures of L^kskamami temple^
Khajurobo. 11 fh century,
{Copyright^ Depot iment of
ArchieohgVy Government
India),

4U Close-up of on embroemg
couple from Khajurabo. 11 fk
century, {Photo^ Mott Ram
Jain).
 43. Side view qf ftie beautiful Sun temple at Kouarak wish
its scidpiured facade and huge wheels. J 3/A century.
{Copyright, Department of Archaeology, Government of
India).

42, Mishuna couple and female musician

from the Vishwanaiho temple, Kha~
jurako^ ] 1 th century. (Copyright,
Department of Archaeology, Govern¬
ment of India).

42
 * -:-l
1 ’W' %m
1 ^ r^m
^Ih *^1
p^r-A^A kmm
ifli-li

C H -V '

^^^Bt^SS^SSS^^SSS^
Lj^^V]

44

44, Sculptured parteh with Couples and decorotke designs

from the bose of the Stm tempter KonaFok. 13/A century*
{FhotOt X Ckimvalla).
 47, Mitkuita figures from ^iie Sun
temple^ Kortcrak. Hihcenhiry.
{Copyright^ Deparrmenf pf
Arehaeohgy^ G^^vernment of
India},

48. Miihma coupks from the Sun

tempie^ Konarnk. HfA rtn*
tury. {Fhoto, Darskan LaU).

4d
 POSTURES FOR CONGRESS 57

termed (11) Urahphutana, (When the woman lying on her baek, draws her legs
up and rests them against the man’s bosom, and when the man, holding those
legs by his hands, indulges in congress, it is ^led Urahsphutana—Tt^%\,)
22. If only one of her legs is kept against her lover’s bosom and the other
is stretched out, it results in (12) Angardhmipldita.
If the woman rests her ankles on the shoulders of the man, it is called (13)
Jrimbhaka,
When one of her legs rests thus on her lover’s shoulder and the other one
is stretched on the ground, the resulting asana is called (14) SarUa.
(The lover should indulge in sexual congress, grasping whichever part
is worth grasping, such as the shoulders, the neck* the breasts, the buttocks, the
thighs, etc. These are the supports for the man—Transl).
23, When the position of the woman’s legs in the above-mentioned &sanas
is often interchanged, one with the other, the resulting mode is known as (15)
Venuvidarita. , ^
It is called (16) Shidachita when one Jmghagra (or fore-teg) is kept resting
on the man's head, while the other one rests naturally.
24. It is called (17) Markataka when the bent legs of the woman touch
the navel of her lover, (v.l. Karkata. This is more acceptable as found in the
Kama Sutra and similarly commented upon by Yashodhara—Transl.)
It is called (18) Prenkim when suddenly, filled with love and longing, the
young woman lifts up her legs (in the foim of an arch or torandj and swings them
to and fro. (The text is corrupt here—Transl.)
25 It is called (19) Padmasana when the thighs of the young woman are
crossed (the left one on the right one). It is called (2fl) Ardha-Padma^ana when
in this position, the position of only one thigh is changed. (Stretching one thigh
up and putting the other one over it*) . ^
26 When the woman passes her two arms under both her thighs and
then encircles her lover’s neck and when, in this position, the husband responds
by suddenly grasping her sides with his elbows, it is called (21) Pkatiipasha.
27 When the woman holds her toes with her fingers and the man places
her thighs on his knees, while eiieUng her neck with his hands, it becomes the
(22) Samyafnana, ... - l

28. It is called (23) Kaurma when the husband presses his own arms,
face, and thighs against those of the woman during the union.
(24) UrddhvagatomyugQ entails the same action as Kaurma^ except that
the man’s thighs are raised in this position. ^ ^ j *!,**»,»
It becomes (2^ Parivartita when, because of the mans raised thighs, the
woman in response, either widens or tightens her own thighs.
 58 RATI RAHASYA

In this position, if the man presses his beloved’s thighs repeatedly during
congress, it is called (26) Piditoruyuga,
(The text is very corrupt here, and so is the commentary—TransL).

Two Tiryag Asa f!as

29. So far, the Uttunu Polos have been described^ now I shall describe
the Tiryag Ratas which have only two varieties.
It is called (1) Samudga, when the thighs of the man are kept between those
of the woman while both he facing each other.
(The Munis are identified as Gonikaputra and others—Transl.).
30. It is named (2) Parhartanaka when without disturbing the union
in this posture, either the woman or the man turns over. This is achieved only
after long and arduous practice.

Three Sth^a Ratas

31. In (1) Yugmapada the sitting woman stretches out one leg while the
other is bent, and the man sitting facing her also stretches his own leg under her
outstretched one, and bends the other one on her bent leg, and then, after much
kissing and embracing, the pair unite.
32. When the woman, sitting, encircles his waist with her arms, and
the man oscillates from side to side and when they thus unite, it is named the
(2) Vimardita.
When they unite in this position by simply sitting facing each other it
becomes the (3) Markatu position.

Four Chitra Ratas

33. The foregoing monos are for Yukia Smgama, that is, in the sitting
position. Now, Chitra Palm will be described, where one of the partners usually
supports the other s body while standing against a pillow or a, wall
34. When the man encircles the maiden’s neck with his hands, and with
his own thighs supports her thighs, and then elfects the union with his erected
phallus, it is known as (1) Janukurpara.
(The v.l. given is widely accepted—Transl.).
It is called (2) Harivikmma when in this position, one of the woman’s
legs IS lifled up.
If the woman, sitting wedged against a support, places her feet against
 POSTURES FOR CONGRESS 59

the palms of her lover and unites with him, it is known as (3) Dvifafa.
36. When the woman sits on the palms of her lover, like a lotus, while
he supports himself against a wall, and then she embraces his neck with her tendril-
like arms, encircling his thighs with her own, and pressing her own soles against
the wall oscillates thus during the union, breathing deeply and giving out the
Sirkora sounds, it is known as the (4) Avahntbita.

Many f^YAyATA Ratas

37. Vyanata is the description of the position where the woman goes
down on all fours, like a quadruped, her head bent down, and the lovei climbs
on her back, like a bull.
38. If the maiden bends down so that her hands touch her feet, and thus
stands with her back to her lover, and he pounces on her like a virile bull, it is
known as Dhenuka.
39. When the woman lies prone, so that her face, breasts, head and the
whole body face downwards, and the man then rides her, moving his erected
phallus in her yoni with his hands, like an elephant, it is known as Aibha.
40. Similarly, there are other postures known as Ama, Gardhabhikat
Sbauna, Sairibfta and so on, which are derived from the postures adopted by the
male deer, the donkey, the dog, the buffalo and so on.
41. It is termed the Smighataka posture when there are two women and
one man. (Details omitted—Transl.)
Similarly, when there is one woman and two men it is called Sanghataka,
(Details omitted—^Transl.)
42. The posture known as the Chitraywitra is so called when there
are four men and one woman and vice versa. (Details omitted—Transl.)
I have, however, omitted the Mamba, Pidita, Varabaghataka and the rest
as their study is not too fruitful.
43. Thus, a man may make use of the artifices of pressing, striking and
twisting either from above her, or from her sides or from below her, before finally
entering into the union with a woman. While introducing his phallus, a man
must guide it with his hands into the yoni of the desirous woman.

Signs of Sexual Satisfaction or the Want of It

44- The woman should be provoked and often forcibly pressed until her
eyes begin to quiver with pleasure.
The symptoms of sexual satisfaction are the relaxation of the limbs which
 60 RATI RAHASYA

accompanies the flow of her fluid, the closing of the eyes and a state of lassitude.
45. The woman greatly perturbed by desire presses her thighs together
over and over again, giving out little shrieks of *si-si.* These are symptoms indi¬
cating the approach of the climax of her emotions.
Now the symptoms of dissatisfaction in love will be shown.
46. The dissatisfied woman often wrings her hands, strikes her lover,
docs not let him rest, but suddenly climbs over him in the Pumshayita posture
of her own free will or when he is exhausted.

Three Purushayita Ratas

47. When the maiden, either from the start or after uniting and turning
over, comes on top of the man and assumes the man’s role^ it is called (1)
Samdamsha.
(The woman here is in the Vadava posture. She can either grasp his phallus
in her yoni or press it).
It is known as the (2) Bkramara posture when, in the position described
above, the woman proceeds to bend one of her knees (the left one) and rotates
like a disc on the thighs of the man.
(This is achieved after some practice).
48. When, after the Bhramara posture, the maiden revolves her waist
completely around the conjoined phallus and yoni it becomes the (3) Fremkholika
posture.
Continuing thus to strike her lover and giving out ‘si-si’ sounds, she would
probably address him thus;
49. ‘You rogue! You are now vanquished by me! 1 will kill you, take
good care! I have unmanned you!’
And while she speaks, she strikes him, her bangles jingling, her dark hair
tossing over her lips, her posteriors swinging to and fro. In this manner, she
works up to her climax and then of her own accord gradually tapers oflf the union.

Affcuu Rata

50. Titillation with the fingers. (Details omitted—Transl.)

Exceptions

51. A man must not allow certain types of women to indulge in Viparita
Rata or Reversed Postures:
 POSTUHES FOR CONGRESS 61

—one who has recently delivered a child

—one who is menstruating
—one who belongs to the deer type
—one who is corpulent
—one who is a very young maiden
—one who is emaciated
In fact, these women should be totally forbidden to practise this
posture.

Four Tadanas or Ways of Strjkeng

52. The union between a man and a woman is a battle—a battle of love,
and one of its important weapons is the artifice of striking. Similarly, even
though the sounds of'si-si’ are expressions of pain, wise men consider the inflicting
of pain also a useful artifice in the battle of love, and have therefore classified
ways of doing so, and one of these is Tadana,
53. Tadana or striking should be done with the palms, the knuckles, the
fist or the group of fingers, and the areas of a woman’s body fit for these are;
the posteriors, the sides, the thighs and the space between the breasts.

Eight Varieties of ‘Si-Si* Sounds

54. The eight are:

1. Himkrita 5. Phutkrita
2. Stanita 6. Shvasita
3. Sitkrita 7. Rodima
4. Vtkrita 8. Viruta, etc.

Sometimes, in addition to Sitkrita, little commands, supplications and curses

are also spoken, such as ‘Spare me!’ or ‘Press me!’ or 'Hold me tight!* or ‘Let
me live!’ or ‘Save me!' or ‘Fie upon you!’
55. Sounds similar to the cooings of the Lavaka bird, the dove, the koel,
the swan and the peacock should be softly made by the maiden during the act
of striking. The Vitas are fond of other sounds also.
56. Himkrita is the sound made with the help of the nose and the throat.
Stanita is like the thundering of clouds.
Sitkrita (v.l. Cftitkrita) is like the splitting of a bamboo.
Phutkrita is the sound of a stone thrown in water.
57- It is known as (1) Apahastaka when striking by the hands results in
62 RATJ RAHASYA

sounds of crying. This ki nd of striking should be done only on the space between
the breasts.
The use of fists is well-known, and must be done on the back.
In (2) Prasrhaka, the hand is shaped like a serpent’s hood before striking
the head with it,
58. Striking with the palm has to be done on the thighs and so is
(3) Samatala, Kartari and similar other artifices, which though widely used in
the southern provinces, are detested by enlightened men.
59. The lover should take his beloved on his lap and with his (4) Afushru
strike her back. She, on her part, becomes aroused, and reciprocates, sighing
deeply and whimpering.
60. The ApcJiasta method of striking the space between the breasts of the
woman halfway through the union, can be gradually increased by the lover until both
partners are satisfied. She is excited bythis, and often gives out iheSUkrim sounds.
61. ff the maiden argues (when Apahasta is being done) he should strike
her on the head in the Prasritaka way with the Kat sound. She makes the Phut
sound loudly, and all through the striking, she breathes fast and whimpers.
62. Quickly, the lover should strike the woman on the thighs and strike
her sides in the Smmlala way until the union is culminated. The woman, liberating
her fluid, imitates the sounds of the swan and the Lavaka bird.
63. On ending the union, the w'oman cries and breathes fast. Similarly,
during subsequent unions, although she does not feel pain but feels the beauty
of the union, she still looks helpless and gives out sounds with her throat.
64. During the act of love, women show the conflicting feelings of affec¬
tion, harshness and violence. The reverse posture is adopted sometimes through
an excess of passion and sometimes because of native custom, but it is not pleasant
when adopted too frequently.
65. The sexually excited partners do not mind bruising, beating or brawling
in the battle of love, like a highly excited horse who is tied to a post and who
has reached the fifth stage.’ (The fifth stage is the highest stage of sexual excite¬
ment in animals. Chkeda is bruising a limb such as the fingers^ Ghatu is strikingi
Kadana is love quarrel.)
66. However, a man should always bear in mind the inborn characteristics
of a woman and adapt his own behaviour accordingly and then decide whether
it should be strong or gentle.
Lastly, why should we concern ourselves about Oral Congress when its
different ways have been declared by Vatsyayana himself as utterly detestable?
t Five types of movcmeiils of horses are minutely described by Mallrnatha in bis commentajy on
M.ngba’s Shlstittpalavatihtit 5/60—Transl.
 CHAPTER XI

CREATING CONFIDENCE IN A MATOEN

!. To fulfil the three Aims of Life (namely, Dharma, Artha and Kama\
without any one superseding the other, the wise man must marry a maiden of
the same caste and one who has not been given away before to someone else.
One gains Dharma by marrying according to injunctions of Religious Texts;
Ariha is acquired by getting presents at the time of the marriage and subsequent
life as a house-holder: the number of relatives increases due to the marriage
alliance; and lastly there is unmtxed and lasting affection.
2. Certain qualities are considered essential for a marriageable maiden:
she should have the lustre of lotus-petals, a fair or burnished complexion, a pinkish
tint in the palms, nails and eyes, soft and evenly shaped feet, a moderate appetite
anda light sleep, and the outlines of lotus ora water*pitcher or a disc on her palms
and soles.
3. The locks of her hair should not be tawny like a monkey's, nor should
her face and belly be too long or too rotund.
The maiden who possesses these virtues and above ail, who is blessed
with a noble nature, is commended in the selection of a bride.
But wise men avoid commending a maiden who has been either crying
or yawning or sleeping. (One should know the Nimitta on seeing the maiden
at the Varana ceremony.)
4-5. Now' the qualities that go against a maiden are enumerated.
If she has the name of a mouniatn or a tree or a river or a bird; if she
has an extra or a missing limb; if she is hunched or has rough limbs; if she has
very long lips or yellowish eyes; if her hands and feet are rough to the touch;
if. while eating, she laughs and pants and cries; if she lifts up her sagging breasts
or has asymmetrical breasts; if she is stunted or has ears like a winnower; if
she has dull or dirty teeth; if her speech is loud or harsh; if her mouth is too
long or if she is herself too tall.
6-7. If she haunts a place which abounds in Vitas (or the agents of courte¬
sans); if she is afflicted with hair on the back of the palms and the hands, the
sides, the breasts, the back, the thighs or the upper lip; if the ground reverberates
when she walks; if she gets dimples in the cheeks while laughing; if she foams at the
mouth when talking; if the second toe of her left foot is longer than the big toe, or if
the middle one is too short, or if the third and the last toes do not touch the ground.
If a maiden has such defects, she should not be considered suitable for
marriage.
(Here the left foot is referred to in R.R. xnT-35).
64 RATI RAHASYA

Post-nuptial Conduct for Three Days

g. On the night of the marriage-rites, the bridegroom should not attempt

any kind of approach to the new bride. Indeed, for the first three nights,
insensitivity irks the new bride, so for these three days, he should preserve
her virginity and not initiate love-proceedings without first winning over her
affection.
9, Young and new brides whose bodies are delicate like flowers become
averse to love if they are approached by husbands who are not familiar with the
mysteries of love. Therefore, it behoves the new bridegroom to inculcate love
in his wife through the help of her friends; having won her confidence thus, he
may indulge in loving actions.
10, It is said that in the case of a very young bride, the husband should
make advances in the dark, and in the case of a young woman he should do so
in seclusion.
Embracing her frequently with his upper body, he should face her and
touching his own lips to hers, pass the betel-leaf from his own mouth to
hers.
(The commentator has taken both together. It appears to be incorrect—
Trans).).
11, If, even then, he should find her averse to love, he should entreat
her favour with endearments, promises, conciliatory words and finally fall at
her feet. Then having offered her the betel-leaf, he should imprint a soft and
meaningful kiss, and persuade her to co-operate with him in deeper dalliance.
12. Feigning ignorance, he should address certain queries to her in order
to elicit a few words from her. If she fails to reply, be should placate her and
ask; ‘Dear lady I Am I up to your expectation or not?’ To which jshe might
perhaps reply by moving her head.

Conduct with a Bride Who Is Well-acquainted

13. When a bride has realised love, and she is apprised by her companion
of some adventure relating to her husband, she suddenly becomes abashed
and smilingly looks down. The companion must then report this favourable
reaction to the husband and tell him how fortunate he is.
14. When that companion speaks openly of the bride’s newly-felt love,
the bride should reply with halting and half-finished phrases—T do not speak like
that. And when love has grown in her, at her husband’s request she should
bring betel-nuts and betel-leaves and place them in his jacket.
49

49. TJiree scuiplured paiiels from th^ Sm tetnple,

Kmarak. Mth cmiury, {Copyrlgkr^ Deportment
af Ardtoeology, Government of Indict),

50. A eouple from the Sun temple, Konarnk. \3th

century. (Copyright, Department of Archaeology,
Government of fndlo).
51. Graceful figures from the
norih face of th; Jogamch irt
of the Sm temple, Kottarak.
]2fh century, (Copyright,
Department of Archieohgy,
Government of India).

SI
52. Sculpture from the Sun temple^ Konarnk^ l3fA
century. (PhotO\ F. Brnh^i).

53. Sfif kuna figures from (he south facode of (he

Jogamohan of the Sun temple^ Konarok. Mfh
century, (Copyright^ Deportmeni of Arcfuteology,
Government of India).

54. Figures from (tie Sun templej Konarak. I3ih

century. (Copyright^ Department of Archaeology^
Government of India).
58, /I cQvpk /mm ifie sei^iptures of Khajii-
mho^ \lfh ttmtiry, iPhoio^ Shamil
Kifufijar),

5«
 CitEATlNG CONFtDIfNCE IN A MAIDEN 65

Manipulation by Hand

15. He should caress her bud-like breasts with his fingers and with his
palm, he should make an upward movement from her yoni to her naveU and then
withdraw his palm. If she should object, he should say, *Oh, beautiful ladyl
I will not do it if it pains you,' and then cut off his advances.
(The text is corrupt in the third tine. The comment given is not clear—
Transl.).
16-17. Thus, with delicate gestures, bringing her on to his own lap, he
should threaten her step by step;
‘Oh, lovely iadyf I will mark you with my nails and teeth, and then do
the same on my own body and declare them as done by you, and what is more,
declare that among your friends, and make you feel ashamed!'
Then he should kiss each limb turn by turn, massage her thighs, and when
her shyness has utterly faded, he should untie her garment. (He should do
Chhuritaka on the budding breasts, then extending his palm downwards he should
manipulate her organ and begin unloosening the knot).
18. Having destroyed her fear, uncertainty and objections in the proper
way with loving actions, he should gratify her by achieving the union through
any suitable posture in due course.
Now I shall enunciate and enlarge upon certain mysteries of women's
behaviour which are abstruse and not to be trifled with. For this, I have gone
back to the Kama Sutra,
19. Men do not attain popularity with women either by wholly obeying
their wishes or by wholly thwarting their desires. Rather a compromise enables
them to win women over.
20. A man who is able to gauge his own capacity for love, who also knows
how to increase love in women’s hearts, and who fully appreciates what pleases
young maidens, enjoys great popularity among their sex.
21. When a young maiden is, all of a sudden, exposed to the amorous
advances of a man unfamiliar with women's ways, she at once becomes afraid,
uneasy, depressed and averse to love.
22. Such a maiden, on finding the union frustrating becomes a hater
of all men through that frustration; or, condemning that particular man, she
resorts to another.
 CHAPTER XII

THE CONDUCT OF THE DEVOTED WIFE

1. The young wife should abandon all opposition and cherish her husband
with body, spirit and word, as if he were the Lord, She should follow her hus¬
band’s bidding in daily household affairs and every day smear the floor with
fresh cowdung and keep her house neat and beautiful.
(The commentary also gives a second meaning of ishtctdaiva as ‘one who
thus gives things cherished by the husband’).
2. As befits her station, she should behave without any false pride
towards her parents-in-law and other elders, friends of the family, servants and
other relatives. Clean and sober garments are recommended for the sport of
love and for excursions, and it is said that to please the loving husband, red gar¬
ments are most suitable.
(The co^entator gives a different meaning of the line. It is not proper
as good behaviour is absolutely necessary for her towards elders. The commen¬
tator has given a different meaning of Vifiara as time for friendly chats, etc. Vat-
syayana has clearly mentioned in K.S. 4-1-25 the Vaiharikavesha which I have
correctly interpreted above—Transl.).
3. She should plant in her private garden fragrant flowering plants
and creepers such as Maruvaka (Sansavieria roxburghiana}t Navamalli, Malati,
Kunda (Jastninum pubescens^t Malli (Jitsminuftt sairtboc), Taruna, and trees
bearing sweet fruits and Midaka (Raphonus ja/rvaj), Alabu {Lagenet^io
Bhauda, etc. (The commentator adds Kushmanda, Koshataka, Bimbaka,
etc.)
4. She should not mix even once with women of low morals who are
always surrounded by dancers and Vitas, nor should she consort with religious
recluses or with mendicants or with women who resort to the occult practices
recommended by Muladeva,
She should also consider her htisband^s taste in food when meals are pre¬
pared, and every single day she should ask herselfi ‘Will he approve of this?
Is this conducive to health?’ (The commentator has given another meaning
also, as ‘with women who do Tantric practices’.)
5. As soon as she hears him returning home, she should hurry to the
porch to welcome him with the necessary trimmings. Thereafter, she should
herself wash his feet.
If it appears that he spends money too freely, she should advise him privately
against it. (Yashodhara in his commentary on K.S. 4-1-11 comments on Bhavs-
 THE CONDUCT OF THE DEVOTED WIFE 67

namadhye as Angmiake. Kanchinatha has failed to do so. Translation given

here is according to Yashodhara—Transl.).
6. If she desires to go out anywhere, she should first ask her husband's
approval and go in the company of her sister-in-law.
(The author has not used here the word Parijana used by Vatsyayana in
K.S. 4-1-50, Kanchinatha says that she should be accompanied by a sister-in-law
or some such other person—Transh).
She should always follow her husband to bed and awake before he wakes up.
If he is asleep, she should not wake him.
She ought never to divulge his secrets and she should follow his example
in observing religious vows and practices.
7. She should never remain tong in a deserted place or at the porch, and
under no circumstances should she reply to him in a harsh or unpleasant manner.
She should never meet anybody in a place where there are very few people, nor
should she, without any special reason, encounter another man.
8. During her spare time, she should take it upon herself to obtain cheap
but shapely vessels made of wood or clay or leather or iron. She should store
medicines which arc not easily available and when she spends money, she should
always do so in proportion to the income. (The commentator mentions vessels
for salt, oil, etc. Medicines are mentioned such as Vacha, Haritaki, Hingu,
Maricha, Ajamoda, Lashuna, etc. The seeds of these should be carefully preserved
for sowing in future.)
9. She should acquaint herself with the proper uses of grass, husk, grains,
firewood, coal and ashes. She should properly assign various tasks to servants
and then supervise their work. She should carefully store the discarded garments
of her husband and after they are duly cleaned, make a gift of them to the servants
on auspicious occasions.
She must attend to the welfare of the servants and to the animals used for
transport, and care for pets such as monkeys, koels, parrots, mynas, sarasa, and
others.
She must always show obedience to her ciders and exerdse great control
over her tongue and her character, and never laugh too loudly.
10. She should respect her husband's other wife as she would respect
her own dear loving friends and show the same care and affection for her offspring
as if it were her own.
When her husband is away on a journey, she should wear her matrimonial
trappings the whole time and devote her attention to her elders and to Brahmans.
11. When he is away, she should sleep near her elders, live frugally, and
enquire about his well-being every day (from guests).
68 RATI RAHASYA

She should complete any assignments he has left unfinished, and maintain
vows and religious rites for her husband*s safely and well-being.
12. Whenever she visits a relative (during her husband’s absence), she
should be accompanied by someone, nor should she stay there too long.
On her husband’s return, she should show herself in the same unchanged
clothes (simple clothes, worn while he was away—TransI,), and at the time of
festivals, she should first make offerings (to God) in thanksgiving.
13-14, When a man has many wives in his house, he should treat them
all equally and diplomatically. If, during a union, she should criticise any of
the other wive’s nature or point out her physical defects to him, he should not
forgive her for that grievous offence, despite her entreaties or her anger.
Under no circumstances must he ever be influenced by one wife against
another. If one wife speaks ill of another, he should rebuke her in private and
cleverly turn the tables on her by charging her with those very faults.
He should always keep his wives happy and entertain them by taking them
out for strolls in parks, by showing them affection and by giving them presents
of clothes and ornaments.
 CHAPTER }aTl

RELATIONS WITH THE WIVES OF OTHER MEN

L So far, you hav« been told about the duties of a wife in a summarised
form. I shall now describe extra-marital relations of a man with other men’s
wives. Such a course of action however destroys one’s life as well as one’s repu¬
tation, and is tantamount to sinning. It should never be undertaken purely for
the sake of satisfying one’s passion: but only if a man finds himself in one of
the ten following mortally helpless states he may resort to it.

The Ten States

2-3. The first state is love at sight; the second is attachment of the mind;
the third is constant remembrance of the object of affection; the fourth is gradual
loss of sleep; the fifth is emaciation; the sixth is indifference; the seventh is
loss of timidity; the eighth is day-dreaming; the ninth is swooning and the tenth
is near-death.
These are the ten progressive stages of love, and when a man finds himself
hopelessly involved in these, he may resort to another man’s wife, if only
to save his life.
4, For, it is possible to obtain another wife, another fortune, another
piece of land, another son and to repeat a noble or a beneficent deed, but it is
not possible to obtain one’s own life and being again.

Women Who Should Not Be Approached

5, If a man approaches a woman who has not been wed by another

man, or if he takes a Brahmin woman, he incurs a continuous sin. It amounts
to the sin of murdering one Brahmin every day.
6, A man should not enjoy any relations with a Brahmin’s wife even
though she may have been enjoyed by five husbands and hence thought fit to be
defiled. Similarly, relations with the wife of a learned man or of a friend, or of a
kinsman or of a king, should be studiously avoided. (Approaching women of
lax morals is like approaching prostitutes and in that way it does not come in the
way of one’s religious practices—Transi.)
7-8. One must never approach:
—^a^egradedwoman
—a friend
69
 70 RATI RAHASVA

—a young girl who does not yet menstruate

—a recluse
—an invalid
^a wanton
—a mad woman
—an evil-smelling woman
—an old hag
—an indiscreet woman who divulges secrets
—an extremely dark-complexioned lady, or
—a woman who has been accepted by another man fas a mistress)
{Nikshipta means pawned or accepted as a pawn—Transl.).

Reasons Prompting a Man to Adultery

9. Before approaching the wife of another man, he may ponder thus:

‘This woman’s husband is the friend of my enemy who wishes to kill me.
By uniting with her, I may be able to break their aJliancc. 1 may be able to
induce her to allay her husband’s friend’s (i*6*» niy enemy's) enmity towards me.’
10. Or he may think: ‘This woman is easily accessible.* Or, he may have
a profit-motive and say to himself, ‘She may support a pauper like me.’ Or he
may think: ‘Through my affair with her, she has come to know my secrets, and
if I now shun her, she may cause me a great deal of harm.’
n. Or, a woman may say to herself: ‘This rogue wishes to seduce me,’
and accuse the man thus falsely and deceitfully. To refute such a statement by
one woman, a man may think; ‘I would be paying back this deceitful woman
with her ow'n coin, if I consorted with another woman.’
12. So then, a man may make advances to another man's wife only if
he is prompted by one of the reasons mentioned above, and not merely to indulge
in a passing fancy.
Indeed, only when such reasons are so forceful that they cannot be resisted,
or when one’s penury is considered or when one is actually prostrated by love,
then only may a man resort to other men’s wives. (The commentator comments
on VnmathUa as one having reached the last state. This is not quite correct-
What the author means is extreme mental perturbation due to excess of passion
—Transl.)
13. A man who desires to consort with another’s wife should think ahead
of the degree of his ambition, his object, his income and the dangers to his own
subsistence. Once Love gets an opportunity to make inroads into a man’s heart,
it can never be vanquished.
 RELATIONS WITH THE WIVES OF OTHER MEN 71

14. In this matter, we have seen that such women who are quite unappro'
achabte and very difRcult for a man to win over, must not be approached. And
yet, by his very nature, the God of Love will tempt and lead men on to exactly
these places! When the man is then frustrated, the God of Love distracts him
to such a pitch that he sees the flood-gates of very Hell opening before him.

Women’s Promiscuity and Its Causes

15. A woman becomes enamoured of a man who is well-groomed, and so

also a man on seeing such a woman. The difference between the two is merely that
the w'oman craves the man without any expectation of the rewards of Dhurma.
16. When a man makes overtures to a woman, she does not immediately
accept or encourage them. Seeing how favourable or unfavourable his reception
on occasions is, he may cither press his suit further or drop his line of action.
17. A man condemns a woman who is easily seduced, longs for the in¬
accessible woman and often charges her with false accusations. So in this light,
we shall consider the character of a man and a woman and what actually leads
to their promiscuity.
18-19. Excessive love for the husband or too much fondness for children ;
advancing age; extreme fondness for some hobby (indifference to the game
of love): sometimes because of a religious conscience; infrequent separations
from the husband; the husband's knowledge of some disease in the woman’s
body; his infatuation with another woman; her inhibition about causing her
husband some pain—all these are factors leading to adultery.
20-2!, A woman may perhaps flatter herself that her admirer, who is
really a rogue, is a gentleman, and thus submit to him. Or, If her husband shows
ignorance of the Art of Love, or has greying hair, or belongs to the lower caste,
or if he is clumsy in his approach or if he disregards the fitness of time or her native
customs during his unions with her—these arc additional reasons for a woman’s
adultery.
A woman also becomes averse to her husband if he is too possessive, or
if she is made to feel that she is unwanted, or if she feels disappointed that he
does not respect her opinion. Or, alternatively, if he has too strong or too weak
a personality, or if she is haunted by the fear of being excommunicated by her
relatives—al! these are causes of the woman’s insecurity.
22. So that, despite the best will in the world, these abnormal circumstan¬
ces will usually drive women to promiscuity. Chiefly, however, the aforesaid
first five causes must be eradicated so as to beget a long-lasting love-relationship.
(Among these five causes, again, the first three are attributable to the man, and
72 RATI RAHASVA

the Other two, to women. To recapitoiate, the five causes are;

—the woman’s weakness
—her false pride
—^her feeling of being unloved
—^her self-reproachment
—her insecurity

Removal of the Causes

23. The remedies suitable for these five ills are given hereafter. By the
show of his own strength, a man may remove a woman's weakness. A more
intimate relationship between the two will get rid of false pride. Her feeling of
being unloved may be dismissed if he does not ridicule or belittle the Art of Love.
Her self-reproachment may be removed by supplication, and her insecurity
may be removed by reassurances.

Men Who Are Successful with Women

24-28. The types of man whom a woman finds desirable are :

—one who is brave
—one who is well-spoken
—one who is accomplished in the Art of Love
—one who bows to her wishes
—one who is considerate
—one who is adventurous
—one who has taste
—one who possesses exuberant youth
—one who is very wealthy
—one who has become a friend in childhood
—one who can be trusted, having played and worked together
—one who is an adept at story-telling
—one who is accomplished in the arts
—one who is experienced through having been a love-messenger on
someone’s behalf
—one who has an insight into things and character, though he may
not have other qualifications
—one who has enjoyed relations with her surreptitiously with the help
of her friends
—one who has enjoyed a union with a high-born lady
Mithuna Jigwes from the sculptured facade
of the Sun temple^ Konarak. 13rA century,
(Copyright, Department of Archaeology,
Government of India).
62, 63. Lt>ving a^uptes from rhe scuipfured facade of the
Stm temple^ K&narak* J3rt century, {Copytighl^
Department of Archaeohgy^ Government of inSaX
 i

J
64. Three seulptured panels from the Sun temple, Konarak. 13rA
century, (Copyright, I}eparnneni of Arcftaeotogy, Gowrnment
of Indifij,
 relations with the wives of other men 73
—one whose good fortune is well-known
—one who is born in a well-known family
—one who is the son-in-law
—one who docs service and is always in her house but who is conscien¬
tious about his work
—one who is a relative of the nurse's daughter
—one who is industrious and sacrificing
—one who takes an interest in public affairs
—one who is known to be of the bull type
—one whose virtues are several cuts above her own husband's
—one who is acknowledged to be well-dressed and well-behaved

Women Who Are Easily Seduced

29-34. Women of the types described below are easily vuJnerabtc;

—one who continuously stands at the porch, and when seen by a man
indicates the interior of the house with her head
—one who hates her husband
—one who is deserted by her husband
—one who is childless
—one who has been scorned without any fault of her own
—one who has abandoned self-respect
—one who is barren
—one who is fond of gossiping
—one whose children are dead
—one who does not desire a union (with her husband)
—one who is humbled by her co-wives despite admitting her fault
—one who is a child-widow
—one who is poor, yet fond of enjoying life
—one whose husband is poor
—one who is arrogant
—one who is afflicted by the knowledge that her husband is a fool
—one who is well-versed in the Arts
—one who is the seniormost wife and has many younger brothers-in-law
—one whose husband is away on a journey
—one who is surpassed by her contemporaries
—one who is always living in the parental home
—one whose husband is jealous
—one who is herself jealous like her husband
 74 RATI RAHASYA

(v.l. is accepted by Vatsyayana) (Pati means a paramour here—Comm.)

—one who has been wooed in childhood but later not accepted in mar¬
riage because of some reason or other
—one who has been seduced in her youth
—one who has an over-affectionate nature
—one who is the wife of a wandering minstrel or dancer
—one who is deformed
—one who is stunted
—one who is foul-smelling
"One who is an uncultured rustic
—one who is afflicted by some disease
—one who is low-born
—one who is aged
—one who is an eunuch

Anatomical Characteristics of Women of Low Morals

35-36. Students of anatomical science note that the following symptoms

are peculiar to women of loose morals:
—if the second toe of her left foot is longer than the big toe
—if the extremity of the middle toe is quite small
—if the little toe does not touch the ground
—or if the last two toes do not touch the ground
—one who is cross-eyed
—one whose eyes are tawny
—one who laughs unnecessarily

Summary

37. A man enjoys success with women when he appreciates his own
capabilities, considers women’s characteristics which are peculiar to their sex,
and removes any cause which may provoke their adultery,
38. Love is inborn in a woman’s nature. It is fortified by the man’s
actions. With intelligence, it is reciprocated and through misfortune it becomes
steadfast and constant.
39. With women in whose case it is the first love-affair or with women
who are outspoken about their opinions, a direct and personal approach should
be made. In the case of other women, overtures should be made through their
friends acting as messengers.
 RELATIONS WITH THE WIVES OF OTHER MEN 75
40. When the direct approach is made to a woman the man should first
engender love in her without too much passion. He should gaze upon her often,
directing his amorous feelings through the expression of his eyes.

Ways and Means of Getting Acquainted with a Woman

41. He should himself see to the loosening and rebinding of the hair and
inflict the Othurita naiJ-itiarks on his own body with his own nails. Now and
again he should jingle his ornaments and press his lower lip. (The jingling sound
should be so done as to attract the attention of the woman. The lips are
to be rubbed with the thumb and the index finger held as a Sampma.)
42. Sitting on the lap of his friend, he should yawn, stretching, twisting
and cracking his joints. He should let out halting sentences and raise one eyebrow
to form an arch.
43. He should find an excuse to sit with his beloved’s friends and lead
the conversation towards her tactfully and thus indirectly make his desire known.
44. He should kiss and embrace either a child or a friend, drawing her
attention to this. While continuing this fondling of the child, he should occasion¬
ally touch her lap or other parts of hei body, (The commentator refers to her
male child. The man should give the child a betel-leaf with his tongue, press
his chin with his index finger and do other appropriate things according to the
occasion—^Transl.)
45. By presenting or taking away toys from the child, the man creates
an excuse to converse with her. and having created goodwill among her well-
wishers, he should then try to gain admission to her private apartment. (The
commentator comments as if Tu/ of the text refers to the child. This is incorrect,
Vatsyayana refers to the woman; so also does Yashodhara. K,S. 5-2-8 and
Comm.—Transl.)
46. While she is listening, the man should introduce the topic of love
as if unconsciously and inadvertently. When her confidence has been induced,
he may even speak knowingly about the affairs of her family.
47. He should make a practice of presenting her with such things which
while accepting she may give him an opportunity for physical contact. Then
she should often be invited to meet his own womenfolk during confidential
meetings,
48. When she is buying or selling certain articles, he should take that
work upon himself. He should prevent any other man from making inroads
into her confidence, and rather make his own more firm in this way,
49. He should raise arguments with her or her attendants about historical
76 RATI RAHASYA

episodes or about the advantages of weaUh, When there is a difference of opinion,

between him and her companions, he should turn to her and ask for her judgment.
(Vatsyayana is more explicit in K.S. 5-2-16. He lays down that she should be
the umpire—Transl.)
50. Thus accelerating his tactics for winning her love, he must watch
her reactions. When he watches her face closely, she instantly becomes
abashed.
51. She in her turn begins then to find some excuse to display one or other
of her limbs (either the breasts or arm-pits and so on), but not for too long. With
her feet she makes designs on the ground. She looks at him gently and secretly
with a smile, sometimes fleetingly, sometimes boldly. (The commentator com¬
ments on Asakalam as incompletely Aviralam as much or fully.)
52. She speaks to the child seated on her lap, kisses and embraces him
with much affection, and when she is asked a question, she hangs her head low
and with a smile, replies indistinctly.
53. She speaks standing close to him, and finds some excuse to follow
him around for long periods. She speaks in a low voice in the hope that he may
notice her.
54. She is forever looking for a suitable opportunity to come near him
and to speak to him. She constantly wears his gifts, and when she is near him,
she will look at almost anything and make it an excuse to laugh.
55. Sitting on the lap of her female friend, she essays many a sport of
love. She befriends her lover's attendants, converses with them, and even plays
dice with them.
56. She elicits stories about him from his family members, and assists
them in their affairs as if they were her own family. She comes to trust even
his female friends and willingly follows their advice.
57. She does not let him see her unless she is properly decorated with
ornaments. When her presence is requested by him, she slowly puts the flower-
coronet into the hand of her lady companion.
58. She sighs, she looks away, she kneads her breasts with her own hands.
She unties her garments and cracks her finger-joints.
59. She speaks with shyness and equivocation, yawns often, throws about
flowers and other decorations. She makes a beautiful caste-mark on her fore¬
head and often touches the posterior of her attendant.
60. She coughs loudly, loosens her hair, goes to his apartment under
some pretext. She perspires on her hands, feet, fingers and face and wipes the
sweat away with her creeper-like hands.
61. With longing, she beckons to his servant and plies liiro with questions:
 RELATIONS WITH THE WIVES OF OTHER MEN 77

*How many young women does he hold in his esteem?* Or, ‘With whom does
he always make love?’
62. Soon, when her growing love becomes evident to the attentive lover,
he should commence embracing her with the Sprishtaka and other modes, and
unseen by others, he should touch her breasts and yoni during water-sports.
63. Feigning some illness, he should send word to her and have her
brought to his bedside. Then extending her hand over his head and eyes, he
should cause horripilation.
64. To the one who now feels tender-hearted, he must address this equi¬
vocal sentence: ‘Oh lady with the beautiful face, allay my painf Let me tell
you that the cause of it all is you alonel*
65. *Oh dear lady! Is it right that your peerless virtue should culminate
in indifference towards me?’ Speaking thus, he should allow her to busy her¬
self with the ritual of finding the proper medicines. CJoinmentator gives
another meaning also. He asks her whether she has experienced a similar excite¬
ment of love on seeing him—Transl.)
66. Then he should give her betel-nuts and flowers duly marked with his
nails. Also he should hand over to her betel-leaves and other things bearing
his nail and teeth marks,
67. Now, having taken her to a lonely part of the house he may indulge
in the pleasures of a prolonged embrace. Then, in the order shown by the Lord
of Love, he should fulfil his long-standing desire.
68. Women become extremely susceptible to passion during the night
when it is completely dark all round. As a rule, if they are courted at that time,
they are not prepared to let go of their lovers.

Places Unsuitable for Courting Women

69. A man must give a wide berth to a place where an aged woman
who has already experienced all the pleasures of the senses lives.
Also, a man should never court one woman in the same place where he
has taken another before.
(The old woman knows the real intention of the man or the woman from the
gestures, physiognomy, acts and movements. Also others are likely to go to the
old woman’s place having fixed it as a rendezvous. The other woman should not
be approached there soon after the first as the secret would then teak out—Transl.).
70. A man must make every effort to test the womans willingness for
a union, for even if she is receptive to the idea, it does not necessarily demon¬
strate her state of love.
7S RMf RAtlASYA

7L A woman who is averse to a direct union must be persuaded through

the help of a lady-messenger. If the lady has a wavering mind, she can be won
over in due course.
72. When a woman shows herself averse to a man’s advances, and yet
in a secluded place exhibits her special charms for his benefit while herself remain¬
ing self-composed, she must be subjugated forcibly.
73. A woman who meets her admirer and suffers his advances with some
sympathy must be won over with intermittent iove-maldng. One who makes
a show of spurning him when courted will refuse to see him purely out of
pride.
74. If then the man retaliates by standing on his own dignity, and she
still docs not unbend, then such a woman can only be won over after a long acquain¬
tance; but if she relents and makes her feelings known then she can be won over
more quickly.
75. if a woman replies quickly in the affirmative to a man’s solicitations,
she is immediately won over. The woman who makes the overtures in the first
instance may be easily recognised as the compliant woman.
76. So then, a detailed description has been given here of the behaviour
of women who are cither self-assured or inexperienced or suspicious. The women
who make no secret of their feelings arc in any case easily won over.

Duties of a Female Messenger

77. Now f shall merely outline the duties of female messengers—and

that loo in a abbreviated form. These women should specialise first of all In
ways and means of increasing a woman’s charms and in narrating historical
episodes and other stories. (I have translated Afishita as done by Yashodhara.
K.S. 5-4-2 as our commcniaior is not explicit—Transl.)
78. A female messenger should narrate lo the lady who is to be won
over beautiful tales from literature, love-episodes and love-poems and recite
several formulas for her well-being and anoint her with love-potions. Thus,
having created confidence In the lady through suitable conversation, she should
address these words to her.
79. ‘Where, on the one hand, is your beauty, your accomplishments
and your character, and where, on the other hand, your husband's? Fie upon
Destiny which thinks fit to disdain your youthful beauty and mocks it!’ (The
commentator has not correctly interpreted the third line. The author really
intended to describe the state of youth of the young woman—Tran si.)
80. 'He is jealous, ungrateful, possessed of a sparing libido, a knave
 RELATIONS WITH THE WIVES OF OTHER MEN 79

and a fool. Tins husband of yours is not fit to be even your servant. What a
pity!’—and so oils
81-82. She should make the maiden lose interest in her husband by repeat*
ing to her his deficiencies of character. Particularly she should harp on one or
other defect which causes her the greatest pain.
33. As if by accident, she should introduce the subject of her virtues
and accomplishments and enlarge on that theme. Having created goodwill in
her on behalf of the lover, she should exclaim: ‘Oh fortunate being! Listen to
this strange story P
84. ‘How strange it is, my friend, that this young man fyour lover) who
is delicate like a flower and who has been bitten by your glance as if by a serpent,
—is in doubt about his very existence.’
85. ‘He sighs deeply, perspires and swoons. He has a mental w'orry
which cannot be dismissed. Indeed, he is not likely to survive if he does not
taste the neaar of the sight of your celestial mien.'
86. ‘Such a iransforitiation as this never occurred before, not even in his
dreams I' So saying, the messenger should note w'hether the lady listens sympa¬
thetically; if she does, the messenger should go to her the next day and speak
further in the matter.
87. She should then praise the love-pledges of Ahalya and other women,
and also speak about her lover’s influence over other women. In this way, having
prodded her on to the way of love, she should watch for her reactions.
88. Her reactions may be described thus: the lady, on seeing the love-
messenger makes her sit near her, smilingly converses with her, and makes
tender inquiries about her eating and sleeping arrangements. She also gives
the lady-messenger a chance to talk freely and meets her in a secluded place-
89. She sighs and yawns and gives some of her own money to the messen¬
ger, and when the latter prepares to depart, the lady beckons to her again and says:
‘Oh gracious lady, please favour me with another story about my lover!'
90. ‘Why do you talk to me without completing what you started?* So
chiding the messenger, the lady herself starts speaking to her about her lover.
‘Why should 1 not do your bidding, although I know for a fact that my lord is
very crafty?’
91. Thus hearing herself speak of her lord’s defect, she laughs again and
again, ironically. Seeing this reaction in her the messenger should hand over
to her the gifts sent by the lover.
92-93. Then, with frequent presents to her of betel-leaves, flowers, anoin¬
tings, the messenger should inculcate good-will in her and arrange meetings
between her and her lover at suitable places and occasions -perhaps during a
80 RATI RAHASYA

natural disaster^ or at wedding ceremonies or at .festivals or at water-sports, or

during a fire, or indeed at tier own house.

The Types of Female Messengers

94-95, She is called NishrishfarTha who, knowing by her own mtelligence

what is beneficial for one of them, commences her work (of arranging the affair
between them). She is called Parimitartha who, with her own intelligence, having
known what is to be done, by certain symptoms, completes the rest of the affair.
She is called Pairahari who carries messages between the two who are united.
(The first type of the female messenger arranges the affair between the Nayaka
and Nayita who are acquainted with each other by mere conversation. Even
when the Nayika employs her as such for messages when they are merely acquain¬
ted, she is of this type. The second is one who carries out the work of knowing
the affair from ihe expressions on their faces—they may have met each other
rarely. The third one carries messages between those who are deeply attached
to each other—Transl.)
96. When a messenger approaches a man under the guise of conveying
the virtues of another lady, but actually praises her own for her selfish ends, she
is known as Svayamduti,
97. She is named Mugdha who takes the wife of the man into her confi¬
dence, asks her privately about the tokens of his desire and other such matters,
and uses this information to attract him to herself, (The text is corrupt here.
So also is the commentary. The text in K,S. 5-4-57 is also equally corrupt—
Transl.)
98. When a man uses his own wife’s good offices to send messages of
love to another woman, and when t he wife, despite this humiliation, displays good
breeding and nobility, she is called l>utika. (The text is corrupt here. So is
the commentar)'—Transl.)
99-1 (X). When a young girl or a maid-servant, who is quite unaware of
her own complicity, is sent again and again bearing secret messages or ear-orna¬
ments to the lover’s lady; if she is completely ignorant of what should or should
not be done, but is still commissioned to convey gifts of ornaments, love-leiteis
marked with nails and teeth and such other love-tokens, she is known as MukadutL
(In other words, she merely carries messages, does not speak or participate in
pressing the lover’s case—Transl.)
101, When the lover sends through a young girl an ambiguously-worded
message to his beloved, relating to some past happening which is quite unintelli¬
gible to others, she is known as Vatadttti.
65. Ornate sculpit^red panet of a coupk fr&m
the Lakshmutna temple, Khajurako^ lith
century^ (Ci>pyright^ Vepartment of Arch¬
aeology^ Goremrijertt of ladia}.

66

66- A coaple from the sculptures of Khoproho. 11/A

century^ (Fhoio^ Moti Jain).
67, 63. Afithma panels of cireuhr form from ihc sculptured wheels
of the Sun temple^ Konorak. 13^A century, {Copyright,
Depormwnt of Archaeology^ Government of Indit^.
 7a

69. Sculpture from the Sun rerfipte. fConarak* I IfA cefitury, (Capy'
rights Deparfmenf ef Archaeology, Government of /iii/Zo).

70. One of the beautifully sculptured wheefs of the Sun temple,

Xonarak^ M'/nch hw designed to be in the form of a clmrioL
}yth century, (Photo, RoJ Bedi).

71, A couple from the Porasuromesivijra temple, Bhubitneshwor^

C. 8^/j century. {Copyright, Department of Archacohgyj
Government of fndia). I

J
72* Sculptured Jigures from the Deii Jagthmha tempi
Khajuraho^ J1 tfj century. {Phafo, Darskan LuH)^
 RELATIONS WITH THE WIVES OF OTHER MEN 81

The Jady* on her pan, should without any hesitation, send her reply in
the same way.

Women Most Suited to Become Messengers

102«103. A maid-servant, a girl-friend, an unmarried girl, a widow, a

lady-astrologer, a woman living in another man’s house, the wile of a gardener
or a grain-merchant, a washer-woman, a female ascetic, a shop-keeper’s wife,
a nurse, a neighbour who is a woman^an>T)ne of those, so long as she can keep
her counsel, may be used as a messenger,
104, Clever men, however, make parrots, starlings, puppets, dolls and
even idols do their work.
However, some of these messengers have been guilty of relating their
duties and privileges to the attendants in the harems. Lovers who enter harems
in this way are considered reprehensible both in heaven and on earth, and arc not
even worth mentioning.
(These are not mentioned in K,S. 5-4, but Yashodhara has quoted a verse
of Babhravya. See K.S, Commentary on 5-4-61 —TransL).
 CHAPTER XIV

CHARMS AND OTHER RECIPES FOR VASffIKAR4!^A AND

MAKING ONESELF ATTRACTIVE TO OTHERS

1. I shall now describe in summary form the chapters on the yoga or

rites to be followed in the Art of Love. They have been formulated by Nandi-
keshvara and other learned men, and include works like the Shabdarrtava^ the
(fdtiis/ui Tojttr&f the complete Hotcwtskhdldf the hundred Fogfli'd/Zj, the three trea-*
tises on medicine and various types of Shaivagama,
2. The God of Love resides amid the jewel-like beauty of love-play bet¬
ween a man and a woman: since the man and the woman belong to different
sexes, there springs a twofold difference in love.
3. Knowledgeable men attribute two extremes based on degree when
they speak, for instance, of libido (strong as opposed to weak) or of other classi¬
fications.
The incantations and prescriptions which are given below are recommended
as correctives for such extremes.

The ‘Kameshwara’ Mantra

4-5. When the Kameshwara mantra or chant is recited with the offering
of Kin^uka flowers to fire, one lakh times, it becomes unfailingly efficacious.
Ther^er, the mantra is Erectly exhaled into the yoni of the lady, and resplendent
reaches the lotus-bud within her, releasing the nectar-
like fluid an^d rapidly climaxing the woman^s emotions, so that she is utterly sub¬
jugated by her lover,
chanted, and then it is to be followed by
iT*
tne lady.
’Jaooumiveease, thus; ‘Fetch
Let me hypnotise her.

™. c. 1,^™’ ‘O™’ ““li ending with 'Kshain' the chant

^^h^t '* fire, rn this way.

NamahJr^T^nsT) Ananga. Naya Vashatam, Om! Klimi

womaifs breasts fh^hfT meditated upon and directed towards the

breasts, forehead and yoni, .t irresistibly attracts her to the man, hypno-
 CHARMS AND OTHER RECIPES FOR VASHIKARANA 83
tises her and like a flame, melts her reserve. (The three different places give
different results. When directed at the breasts, the Kundalim draws her near
him; at the forehead, it brings her under his control; at the yoni, it makes her
get the orgasm. The mantra is ‘Om! Hrim Naniah.’ This is the KutidaUm
mantra—Transl.)
9. When the Kundafini is chanted seven lakh times, the man becomes the
embodiment of the God of Love to women. He begins to talk like Vackaspati and
to speed like Garuda. (v.l. like Garuda in rendering poison ineffective—Transl.)
10. Alternatively, if this chant is repeated tw'enty thousand times and
after that, an offering of a thousand Patala flowers is made to the sacrificial fire,
the eighth vowel, together with the Bittdu (that is, the nasal accompaniment)
becomes effective in securing anything a man wishes for,
CRikara* means ‘eighth*. Hence the chant becomes ‘Om, Namahl’—
Transl.).
11. When the eighth vowel is contemplatively directed towards the neck,
the breasts, the face and the yom, with the visualising of yellow, dark, white and
red colours respectively, it helps to bring under control any powerful enemy or
one’s speech or even one’s beloved.
12. A man can obtain power over things also by repeating the following
chant ten thousand times and by offering one thousand Ashoka flowers with it
to the fire.
(‘Ora Mada Mada Madaya Madaya Ham Saum Hrim Rupinim Svaha’
—Transl.).
13. When this mantra is chanted white placing the Anamika or the ring-
finger of the left hand over the lady’s yoni, it speedily brings on the orgasm by
releasing her fluid, like the sugar-cane crusher releasing the juice.
14. The Hritiekha chant, when repeated one lakh times by the man at
sunrise and followed by the offering of ten thousand sesamum seeds to the fire,
attracts even a difficult and a distant woman to himself. (Alternatively, it draws
even the goddess Durga towards him. The mantra is, ‘Om! Hrillekhe Manidrave
Kamarupini Svaha!'—Transl.)
15. If this mantra is chanted two lakh times and another one lakh to
the accompanimenfof offering of Kadamba flowers to the sacrificial fire, and if the
Tatva (or Afakara, that is the consonants starting from *ka* to ‘nut') is repeated
silently, a man is able to seduce even another man’s faithful wife.
16. When a piece of Nadika (a kind of vegetable) and a seed of Tada
(a tree) is mixed with Gorochaita and the mixture, duly powdered by a maiden,
is sprinkled on a lady's head to the accompaniment of the chanting of the seven
syllables, it immediately brings the woman under the lover’s control.
84 RATI RAHASYA

(The mantra with seven syllables is» ‘Omf Krom, Hrim, Shrim, Dham,
Svahal’—Transl.).
17, If the chant ‘Om! Chamunde^ Hulu Hulu Chulu Chulu Vasham Anaya
Amukim Svaha!’ b repeated seven times with a betel-leaf and the betel-leaf is
then given to the woman, it brings her quickly under his control.
18. If the mantra ’Om! Chamunde, Jaya Jambhe Mohaya Vasham Anaya
Amuldm Svaha’ is chanted by a man with the offering of ftowers and those flowers
are then presented to the lady, he is capable of winning over the lady,
19-20. If the mixed powder of a garland lying on the head of a corpse,
the bones of a Jivanjhaka {Chakravakd^ and a peacock, is kept in a leaf
found after being blown away in a gust of wind and held in the right hand and
then sprinkled on the head of a woman or of a man, it brings her or him under
one’s control. If a white flower is given with the Krhhnakshi mantra, etc. (it
brings the person under one’s control). (The Krishnakshi mantra is; ‘Om Krish-
nakshi! Kjishnamukhi! Krishnasarvangi Yasya Haste Pushpam Dasyami Tam
Avashyam Vasham Anaya Yadi Na Bhavati Tada Brahmaha Rudro Bhavati*
—Transl.)
21. If the Makara with the addition of the fourth vowel together with
the Kumfalini and the Bindu is repeated twenty-eight times at the time of the union,
it subjugates a man’s lady-love. (Shambbu is Makara, Shakti is the fourth vowel;
this mantra is to be repeated when breath is passing through the left nostril. The
mantra is—Ora I Hrim Namah Puraskritya Shambhave'—Transl.)
22. Jf at the time of the congress, the outline of the letter Va like a crystal
is contemplated in relation to the woman’s yoni, and that of the Agnibija is con¬
templated in relation to the man’s phallus, the woman can be gained over.
23. When a woman is breathing through the left nostril, the man must
remember to concentrate on her left half and her left limbs when he adopts the
various love-formulae for her thighs, her breasts, her arms, and her yoni or else
she is not controlled.
24. If the powder made from the garland lying on a corpse, a leaf blown
by the wind and two wings of a bee, is mixed with the powder of the two upper
front teeth, and if a man spriokles this over the head of a maiden, she will surely
yearn for him.
(A maiden should powder the various ingredients in a cremation ground
on the night of the fourteenth day of the dark half of a month—Transl.).
25. If a woman is struck by a man with a Mritadanda (i.e., a stoker used
in the burning funeral pyre of a married couple of the same caste) she unfailingly
follows that man. (The couple should be of the same caste and the stoker is
besmeared with honey. Even the ashes of such a stoker, if sprinkled on a couple
75
7-1

73. Mifhuna coi*ph from the Rajn Rani fempk. Bhubaneshwdr,

ilth century. {Copyright^ Department of Archaeohgy^
Garernment a/Indm).

74. A couple from the 5m temple, Konarok, I2ih rentifry.

(Copyright^ Department of Archaeology^ Gorernmcnl of
India).

75. Beauti/ut sculptured panel from the Farasurameswara

temple^ Bhui^neslmat, C 8jA century. ^ Photo C
Bhatt).
 charms and other recipes for vashikarana 85

who are not on good terms with each other, bring about rapprochement—Transl.).
26. If the name of a woman is written with a piece of charcoal from a
funeral pyre on the left-side bone of a rabid dog and then heated or burnt, she
will definitety submit to him.
27-28, If a man marks his forehead with the powder of Mohalata (Dhattura),
Glrikarni (Indravaruni), Madantika (Madanti plant which is continuously oozing
some liquid), JaUka (Koshataki), Amkpushpi (Apamarga or Madhurika), Rtidra-
Jata and Kritanjali (Laijalu Brahmadandi) mixed with ghee and honey, and then
fuither mixes this with the five secretions of one’s body (blood of Ammika, ring-
finger, phlegm, mucous from nostrils, dirt from the eyes and excreta or according to
some authorities, sweat, saliva, blood, urine and semen), it brings the whole
world under his control. If this is mixed in a drink or in food and then given,
the man is able to bring the whole world under his control,
29. If the powder made from the worm (Natidikifd) and the Kakajatigha
seed is gaven to a person in a betel-leaf, the person who administers it can control
the other person. So also the Twtkmiaka mixed with one’s body secretions and
soaked in the juice of Muni (Agastya) leaves, is equally efficacious,
30. If the powder of a dead fiy is mixed with the powder made from the
breasts of a black bitch, and if this is mixed with a man’s semen and administered,
the man can \vin over any woman, even if she be the very wife of Vashishtha.
31-32. If a man puls a mark on the forehead, made of the powdered mixture
of the ichor of an elephant in rut, Siddhartha{G^ma.Sars]mpd) seeds, red Karavira
flowers, ghee, white Ravijata (Shvetarkamula), Avhkringi (Bastashringi), honey,
and the mixed secretions of five limbs, it brings the three worlds under his control.
If this mixture is kn^ded with state water and then mixed in his drink and his food
and given to others, it is very efficacious in bringing them under the giver’s control.
33-34. If pieces of Vajri fSnuhi) are mixed and prepared by first drying
them with powder of Gota (Manahshita) and Gandhaka and besmeared with
honey and then if this is applied as a composite ointment on the phallus, or if
this powder is mixed with the excreta of a red^monkey and sprinkled over the
head of a woman, a man, however ug!y-!ooking, is able to seduce even a maiden
having beautiful limbs. (The man, if he applies the ointment or powder, in the
first stage, to his own body will find it efiScacious in controlling a woman—Transl.)
35. The incense made from the mixture of pieces of Vata ((Nyagrodha),
Yurati (Priyangu), Mafayodbhava (Chandana), small cardamoms, the Jui<^ of
Sarja (Rala), Kushtha and Siddhartha (Gaura Sarshapa), if applied all over one’s
body, gives a man power over every other person.
36. If the powder made of Kitshthaf Utpah petals (NilotpaJa), wings of a
bee (ot Bhringaraja leaves), the root of Tagara and Kakajangha (Samudratiraja)
86 RATI RAHASTA

is soEked in the blood of the Anontiko (ring'^finger) and then sprinkled on the headt
it becomes as effective as the above-mentioned incense.
37. If sweet oil is heated with the bark of Utpafadala, Daadotpak (Saha-
devi), Punarriava and Sarim, the resulting ointment, if applied to the eyes, they
say, is very efficacious in controlling others.
38-39, If, at night during the *Pushya Nakshatra,' the eyes, the nose, the
heart, the phallus, the tongue of a man killed by an elephant, are boiled with oU
in the temple of Bhava, the resulting ointment named Madatto/ikusha, if adminis*
tered with either food or drink or applied on the body, gives a man control over
others. So say the Munis.
40. The Chintamani incense prepared with Vasu (Shvetarka) Kushtha
(ICoshtha), fChandana^, Ghusfino (^K.ujnkuina), Siwctatu (Devadaru},
and honey is very efficacious in controlling others.
41, The author of Haramekhaia considers this Incense efficacious for
pleasant congress, winning over a maiden and sale of commodities.
42-43, The pill, which enables a man to make any woman submit to
him, even if she be the wife of Vashishtha is made in the following way;
The bowels of a dead sparrow are removed and in their place is injected
the man s semen and urine, and the sparrow is then placed in a Sharavit Sampuia
(i.e,, a small round earthen vessel with a similar one to cover it) and baked in
an oven for seven days. The ashes are then collected and made into pills.
44-45, If an ointment is preparttl from Gada (Rasa) petals, Talisa, Tagara
(Pinditagara) and is applied to a silken wick, and if collyrium is prepared with
the oil of Siddhariha (Gaura Sarshapa), and the seeds in a man’s skull, and then
appUed to the eyes of women, it stupefies even the minds of ascetics.
46, A woman who adorns her forehead with a mark made from Rockana
(Gorochana) mixed with the discharge of her own menstruation, is able to sway
the whole world. This is not due to her own supernatural powers.
47, If a woman applies on her forehead the mark made from the paste
of the root of Sahadevi uprooted at the time of an eclipse (either solar or lunar),
mixed with powdered Rochana, she is able to cause love-pangs even among her
elders and betters.
48, If a Brahmin is given Fayasa first and then if the root of the Sitabah
(Sitapushpa) is eaten, having been extracted and ground by a maiden, it enables
a person to remove unwillingness in another person.
49, When a man prepares a paste made of eggs crushed in a spider’s
web and spreads it on the leaves of Jati (Plaksha) or Pippah (Ashvattha) trees
whose roots interlock underground, and then applies this on his bosom and
embraces the woman, he wins the doe-eyed lady, despite her hesitation.
 CHARMS AND OTHER RECIPES FOR VASHIKARANA 87

50. When Sitadtirva with Sitabrihati (Shvetaphaia Kantakarika) and Sifa-

girikarni (Shveta Aparajita) with roots and flowers, is given with the betel-leaf,
it brings a man or a woman under one’s control.
51-52. When the bone of a camel is mijtcd twenty-one limes with the
juice of Bhrmgapakska (Markava Patra Rasa) and heated in an earthen vessel
(having a similar one to cover it above) with an equal quantity of Shailanjma,
and then powdered, and thereafter keeping it in the shin-bone of a camel, it is
anointed to the eyes with an anointing-rod made of the bone of a camel, it brings
that person under one's control, as easily as if a person were controlled by a mere
command. (The sexual congress comes about by the Upakshaya Vidhi without any
Upalakshana, This collyrium is meant for controlling all persons—Transl.)
53, A man, who at the end of the union, besmears the left foot of the woman,
or her heart, with his owm semen, becomes her dearest one above eveiy'one else.
 CHAPTER XV

APHRODISIACS AND OTHER SECRET RECIPES

A. Ways and Means of Inducing Orgasm in a Woman

1-3. The following recipes are for anointing either a woman’s yoni
or a man’s phallus: with its application to a woman’s yoni the man finds it easier
to introduce his phallus and with its application on a man's phallus, a woman
with a sluggish libido releases her fluid earlier:
1. The ointment made of Bha\'abija mixed with Karpura and Tankana.
2. That one made of Bhaxabtja mixed with honey and Kesara (Bakula).
3. That one made oi Bhavabija mixed with Gkosha fruit or its juice.
4. That one made of Bhavabija mixed with juice of Dandotpala fPita-
pushpa).
5. That one made of Bhavabija mixed with Shashi (Karpura).
6. That one made of Bhavabija or Parada,
7. That one made of Tankanaka,
8. That one made of Ghoskaraja.
9. That one made of honey and tamarind.
10. That one made of jaggery and tamarind, (vj. Tamarind with honey
or jaggery with honey.)
above-mentioned ten recipes are excellent for inducing a woman’s
fluid to flow speedily. There are six other prescriptions for not only thawing
a woman s passion, but additionally, for holding her continually under her lover’s
thrall and for perpetuating her attraction for him.
5-8. The first rec'pe: Lodhra, the inner portion of the Bilva fruit, the
ichor of an elephant, all taken in equal parts and made into a paste with the
juice of Sinduvara (Nirgundi).
The second recipe; Honey, Magadhika (Pippali), Dkatturaka. Lodhra
Mancha made into a paste.
■ j recipe; Udupati (Karpura), Kanchana, honey, Suta (Parada)
mixed with the male organ of a red monkey and made into a paste.
The fourth recipe: the saliva of a horse, Mtmjishta (Kaleyaka), Sita Shar-
sbapat Jati (Malati flower mixed and made into a paste—Transt.).
The fifth r^ipe: The male organ of a red monkey mixed in clarified butter
made irom the jniJk of a brown cow^
The Sixth recipe: Honey, Saindhava, the excreta of (Parabhiit)
or that of a pigeon. '
PI. A
 I

I !.
V

% I I #r

fi i

n
4
 APHRODISIACS AND OTHER SECRET RECIPES 89

All these when made into a paste and applied by the man on his phallus,
has the effect of hastening the orgasm in a woman, bringing her under his
control and drawing her closer to him.

B. Increasing the Flow of Semen

9, A man can attain a wrestler's strength during a union if he takes the

poiion at night prepared in the following manner:
Nagabala, Sabala (Shatavari), Vanari (AtmaguptaJ, Gokshuraka and Ikshu-
raka (KokiJaksha)—all mixed with equal parts of milk.
10. A man is able to achieve great force (increase in libido) if he takes one
Karsha of (Yashtimadhu) with an equal quantity of clarified butter and
licks it with honey, and thereafter drinks milk.
11-12. When a dough is made by first cleaning and then kneading for a
long time fifty palas of ghee, one hundred pa!as of sugar, twenty-five palm of
honey and one pala of water, and then made info bread and eaten daily, a young
man can overpower any woman proud of her prowess in love, and drive her into
a frenzy,
13. A man can attain the power of a wrestler in a union if he partakes of
the mixture of Skafavari, Afagadhika, honey and ghee, heated in milk taken ten
times more in proportion to the ghee.
14-16. By imbibing any of the following mixtures, a man’s passion is so
increased that even a hundred women cannot gratify him:
1. Sesamum seeds (black) mixed with milk and heated for a long
time.
2. Bastanda heated in ghee and milk or taken with salt or with jaggery,
(v.l. vith Pippali.)
3. Vidaraka powder (Shalmali), mixed with its own juice, with ghee,
honey and sugar.
4. Gokshura and Vidarika powder mixed with sugar.
5. Dhatri powder, mixed in its own juice, and then with Sifa, ghee and
honey. This powder must be washed down with milk.
17-18. Similarly, not even a hundred women can satisfy the increased
passion of a lover who eats the bread made from powdered Yava, Kalama (Shall)
and Masha with Godhuma and Magadka (Fippali), which is cooked in ghee, and
then drinks enough milk with sugar.
He achieves the same power if he anoints his navel vrith the paste
made from the filaments of a white lotus together with ghee, honey and
Sahadevi.
 90 RATI RAHASYA

C. Delaying the Flow of Semen

19. If during a union, a man tightly presses his phallus with, the finger
where the seminal duct starts, controls his breath and directs his mind to thinking
about other things such as rivers, forests and caves, he is able to stem the flow
of his seminal fluid.
20. Similarly, if a man chews the root of SHasharapunkha pounded in
the milk of a banyan tree and placed in the Kuranjaka pod of only one seed, he
is able to stem the flow of the seminal fluid,
21. A man is also able to control the flow of his semen if he presses
against the muscles of his anus tightly and ponders over the Omkara in the shape
of a black tortoise from the navel up the liead.
22. The flow of seminal fluid is delayed for a long time if the root of the
SilQpunkho is mixed with Parada Rasa and placed in the pod of a Karofijaka which
contains only one seed and then kept in the mouth.
23. If the hair from the right hand of a man, or from the trunk of an
elephant or that from the tail of a horse or a camel (v.l. tail of a donkey or a
horse) is tied by the man’s right hand to the tooth of a Koh (Varaha), it helps
the man to stem the flow of his seminal fluid.
24. If a bone of the right side of a black VrisMamsha (Marjara) is tied
to the waist mkastbana) it stems the flow of the seminal fluid. Similarly, if
the seed of Sapmchchhada is kept in the mouth, it stems the flow of the seminal fluid.
25-26. If—
1. The paste of Smthi (Kshirasara) and the root of ijiJjalH soaked in milk
is applied to the man's feet;
2. The root of Varmi (Indravaruni) made into a paste with a goat’s urine
is applied to the phallus; or,
3. The oil of Aau^fujjMo by itself, or mixed with the powder of Varsbahhu
(Punamava) is applied on the phallus,
a man may gain control over his seminal fluid. However, without a doubt, all these
preparations are equally efficacious also if applied to the soles of the man’s feet.
27, A man is able to delay the flow of his semen during a union if on his
navel he applies a paste made of the ghee from buffalo’s milk, Saltadeyi (Dand*
otpalamula), oil, honey, and the filaments of a white lotus, all in equal propor¬
tions, together with a house-sparrow.

D. Organic Improvement

28. Massaging the phallus for seven days with (a mixture of) the oil of
 APHRODISUCS AND OTHER SECRET RECIPES 91
sesamimi seeds, Ghosha (Ghoshalata), Tankoftct (Tankana lCshara)» Manafishila^
Jati (Malati), Partto (fClmshuka}. Rasa and Kushtha, enlarges it veiy much.
29. The oil of sesamum seeds minted with Vajri, the bark of pomegranate,
Brihatiphah, and Kuskt/ia with Bfialiara and then boiled in Kumbhirasa (Sita
Girikami) six times more in quantity, is as efficacious a recipe as the previous
one (by massaging the phallus for seven days with it).
30. An ointment prepared of BhaBataki with rock salt, Jaiaskuka^ lotus
petals and Vajra—^Xh firi/io//Juice and boiled without letting it smoke, is equally
efficacious (by massaging the phallus for seven days with it).
31. The phal lus increases in size if anointed with the mixture Qf Jalakatida
(Jdashuka) Kushtha and cow-urine with buffalo butter, and the whole is then
mixed with buffalo dung.
32. An ointment prepared by mixing buffalo dung and butter with the
pod of Bhaltata seed and Kmtbkika bark, Flayagandha and rock salt, enlarges
the phallus, (The text is corrupt in this verse. The commentary also does not
properly explain it—Transl.)
33-34. Honey, Tagara, white sesamum seeds. Brihart (Kantakarika) and
Kharamanjari (Apamarga), Kona together with barley seeds. Kttshtha, chilli, rock
salt, Hayagmidha and Masha —all these ingredients when mixed together and
applied continuously in Unmaniana way (i,e., going upwards from below) on the
breasts, ears, phallus, arms and head, undoubtedly increase the size of all these
organs.
35. Kauaaila (Sarsbapa Taila) mixed with BhaUataka^ BrihatiphaJa and
the bark of pomegranate fruit, if applied in the proper way, makes the phallus
similar to the organ of a horse.
36-37. When the phallus is anointed with the dung of a buffalo and then
massaged often with the ashes of lotus petals. Bhallataka, Balakrisfma and salt
-all having been burnt in a vessel mixed with the juice of the rice named Brihat^
phala, it becomes similar to a pestle in size and crushes the pride of young maidens
who are tormented with love,
38-39. When the mixture prepared from the root of Hayaga/uiha, Siaihi-
phala (Brihati), BhaUataka, the petals of a lily, Simihidanma-skaivala (Jalanili)
is soaked in buffalo butter for seven daj s, and when the phallus, previously
smeared with buffalo dung, is anointed with this paste, it enlarges the phallus to
such a size as would belittle the male organ of a donkey, (The commentator
comments ‘similar to the male organ of an ass," This is incorrect—Transl.)
40-41, The phallus, being first anointed with cow-dung, and then massaged
with an ointment prepared with buffalo butter kept in a seedless Kanakaphala
(Dbatturaphala), mixed with the soft and fine powder of the root of Haya
 92 RATI RAHASVA

Gandka and Kmiaka Rma, becomes similar (in ske) to the male organ of a horse,
and effectual for women who are difficult to be won oven (TTie commentator
comments as Hasdni.)

E. Removing Organic Defects of Women

42-43. If an ointment prepared from (1) Dala (Tejapatra), Kumkuma,

Kunati (Manahshlla); or (2) Gaja ^aga Keshara), 'Gajapippan, Dah, Tali (Tala-
bheda) and one-fourth part of Thgara; or (3) Bala, (Nagalceshara),
Mansi (Muramansi) (or sandal oil or Jatanmmt); or (4> Rohita (Kusumbha)
flower (or Kumkuma), Skaikya (or Laghu Narayana oil). Kusumbha (Kumkuma
tree) and Tagam; or (5) Lohita (red) Chwidana, Pitta (Gorochana), Kona (Pip-
pal t, and ghee, Vimala (Rupya Makshika), Anjana and rock salt; is applied inside
the yoni, it undoubtedly resuscitates a woman’s capacity for enjoying a union.
(Note the pliability of this highly useful and important limb—.Transl.)
44. The oil of Siddhanha (Sarshapa) mixed with the five components of a
pomegranate (bark, leaf, flower, root and fruit); or that of the flowers of Malati
is applied inside the yoni, it brings about her full enjoyment, (It removes organic
defects in her.)
45. The oil of white Sarshapa mixed with Gada (Kushtha), Fadnmka
(Padma Kushtha), Karpura, Ushira (Khasa in Hindi) Fushkara (root), Ambudhara
(Nagara Musta or Bhadra Musta)—all taken in equal quantities, removes ail
defects from the woman’s sexual organ.
46. Washing the yoni three times daily for seven days with a decoction
of the Nimba bark, or fumigating it with Amalanjana and Nimbasara, or washing
it with the liquid of a li ve Shambuka (Jalashukti) makes it equally cfiicacious.

F. Recipes for CoNTRACnNG and Enlarging the Yoni

47. If the stalk of a lotus, together with a lotus-flower, is treated with

milk and a paste is made from it and put in the middle of the yoni. it makes a
woman of the cow-elephant type, a source of happiness in the Battle of Love
like the woman of she-deer type. (It contracts her yoni.)
48. If the powder of either Charati or Grikagandupada or Vrishagopa is
sprinkled over the curds prepared from a goat’s milk and placed in the vonj it
contracts the yoni. {Grihagandu is Kmchuluka.) ^
49. If clay is soaked with the urine of a woman kept for some time in the
mouth of a black serpent, and is then tied with a black thread or a strip and nut in
the yoni, it gradually contracts it. On taking it out and after she has given her
PL B|
 APHRODISIACS AND OTHER SECRET RECIPES 93
lover explanation as to how she enjoyed, etc., she regains the former &lzc(Vishalata)
of her yoni.
50. The paste made of the seed of the plant called FikattayatJO contracts
the yoni for the span of one day only. When the navel is anointed with the powder
of two cow-horns whose points are placed downwards and upwards respectively, the
yoni gets contracted or regains its former size respectively, (With the powder
of the downward horns it contracts and with the other its gets enlarged. The
commentator has not understood the meaning of Pikofioyatiabijci. The yoni
does not become enlarged but it regains its original size. The same xnistalce
is eouunitted in his comments on verse 49 above—Transl.)
51. AddiiionaJly, if the woman’s yoni is anointed with the above-
mentioned paste with the horns facing upwards or downwards as the case may be,
it also induces the erection or the quieting of the phallus at the start or the finish
of the union. (If the powder of the hams with downward points is used, the
phallus even at the commencement of sexual congress regains sedateness. If
the powder of horns pointing upwards is used the phallus retains its erection even
at the end of the sexual congress—Transi.)
52. The paste made of Jtajam (Haridra and Daru Haridra), the filaments
of a lotus and Devadaru, if put in the yoni, contracts it and thereby adds to a
woman’s enjoyment (sexual pleasure).
53. Ghee, honey and rock salt, if mixed and made into a paste, enlarge
the yoni of even youthful women who come under the Baia class (in respect of
age).

G. Reopes for Dephation

54-56. The kernels of a Haritahj Talabijat Sinduvara (Nirgundi), Ghafta‘

nada (Tanduliyaka), Kmdali (Padmabija), Keshara, Ikshx'aku (Tikata TumbO seed,
Kunati (Manah ShiJa), Vachat Sinhi root, Manjisktha, Varum (Tikta Shaka), Giri
Karnika (Aparajita)—are first sprinkled seven times with the juice of Snuhiy then
sprinkled with the juice o^Tikta Tiimbi and then pounded together; and if this
is then divided into two halves, one cooked with Kandalika and the other with
the water of Bahuiavari (Shvetamaricha) and then finally, if the mixture is applied
to any part, it is efficacious as a depilatory,
57. If you should desire to make your head as clean as your palms, then
any two or three of the recipes given above should be applied there, with the
addition of Haritala.
58, Powders made from the ashes of Shankha^ Pahsha (Kimshuka) or
Haritala have a depilatory efifect. So also the oil of f^usumbha^
 94 It ATI RAHASVA

59. If six parts of Haritala arc mixed with one part of Shankha ashes,
and the mixture is applied, it has a deplitatory effect.

H. Recipes for Abortion

60. A mixture of Amala (Mahamli), Mala (Bhumyamali) and Anjatia

(Grihagodhika?), taken with cold water (during menses) destroys the foetus.
Pofosha seed is mixed with ghee and honey and then put in the yoni during
menses, it destroys the foetus. (It is diRicult to understand the propriety of Ritukala
in this stanza. The commentator also comments accordingly—‘Transl.)
61. The root of the Jvalana (Chitraka) tree, or of the Jayatiti (Tikta
Shaka), mixed with rice water and then drunk has the effect of destroying the
foetus^ or if a mixture of salt crystals and oil of Sarshapa is put inside the yoni,
it destroys the foetus.
62. If the seed of Kesara and Shaivala mixed with the root of Chaitipaka
or of Kana, is drunk with water it destroys the foetus* so also a mixture of the
oil of Sarshapa and old lime. (The commentator has perhaps seen another
reading which is not in this text and he has accordingly commented upon it_
Transl.)

I. Recipes for Pregnancy

63. If a woman on the day of the end of menstruation drinks the powdered
root of Navanagakesara with ghee and milk and then unites with her husband,
she becomes pregnant.
64. If a woman drinks the powdered root otLakshmana (Shveta-kantakari)
with a lot of ghee (it gives her a son). Jalatnamsl if drunk with rice water
by a woman, gives her a son.
65. If even a barren woman drinks the powdered root of Kekishikha or
Puiramjira (Jivatokshupa) mixed with the milk of a single-coloured cow. she
IS able to become pregnant,
66. If a woman, having bathed after menstruation, drinks the powdered
root of iMkshmma mixed with the milk mentioned above, or if she partakes of
cooked nee, which is washed with seven different waters, she begets a son.

J. Recipes for the Prevention oh Abortion

67. If a pregnant woman drinks the mixture of the roots of a blue and
a white lotus, mixed with honey and rock salt; or the mixture of a leaf of Godhavali
 APHRODISIACS AND OTHER SECRIH' RECIPES 95

(Hamsapadi Lata) with ghee, it prevents the flow of blood in an imminent aboilion.
68. ff a mixture is made of the petals of a blue lotus, sugar, Yashtimadhu,
Shyama creeper and lodfira and mixed with Sandal and then drunk with rice-
water it prevents abortion.
^ 69. Milk mixed with yasftiimadhUf Kushd grass, Klmsn and clarified butter,
combined with white lotus or also mixed with Musta (Bhadra Musta) should be
drunk during an imminent abortion specially when sharp pain is experienced.

K. Recipes for Painless Delivery

70. A pregnant woman, who ties round her waist KJtarvaskri (Tilaka)
and tail feathers of a pigeon plucked during thePushya consleilation, or who drinks
Nagabah, is able to deliver soon (or the juice or Kubjaka tree, Biha tree, clove
creeper or feather, Jata in Bltumya/ttaiaki or Jaiamarttsi plucked on a Sunday
and during the Pushya Uakshatra and tying it round the waist or drinking it).
71. A pregnant woman cutting a root into seven pieces and tying
them round her waist with seven threads is able to have a painless delivery despite
signs of a difficult labour.
72. A pregnant woman who is pained by the heaviness of the foetus is
able to have a painless delivery if she first chews the root of the white Pikalachana
plant and then fills her ears with a little of the chewed matter. (The commentator
has once more not understood the meaning of Pikalochana as in verse 50—
Transl.)
73. A paste made of the root of Krishnabala together with the fibrous
root of white Girikartti, placed in the yoni of a woman having an inactive or a
misplaced foetus, helps her to have a painless delivery.
74. The root of Siiabafa, if tied round the waist with red threads, causes
all unclean matter to come olf: or if the root of Ikshmku (Tiktatumbi) is made
into a paste and is applied on the feet, it immediately causes all unclean matter
to come off. (The v.l. gives ‘Ainara’ which means ‘Jarayu*.)

L. Recipes for the Removal of Organic Pain

75. If the roots of Kfiaramanjari (Apamarga) and Punamava are ground

into a paste and the paste is put in the yoni, it removes all the pain in the yoni
of a woman who has recently delivered.
76. If ghee is mixed with the seed of Karpasa or oil is mi.xed with the flesh
of a rat and put in the vulva, it similarly removes pain,
77. The leaves of Varuna (Tikta Shaka) made into a paste with the liquid
96 RATI RAHASYA

of cow-dung and cow-urioe and then mixed with ghee and applied in the yoni
of a woman who has fecentiy delivered, helps kill all the germs inside,

M. Recipes for the Removal of Foul Organic Odour

78, If oil is mixed with KushthOy lotus, and a small blue lotus and the
mixture is put inside the yonit or if the yoni is douched with a decoction of
mmba\ or if the yoni is fumigated with the incense smoke of Abhaya (Haritaki)
and jaggery, the yoni after this fumigation becomes fragrant.
79, If a paste is made of the Jati flower, Yashtimadhu and the five leaves
(Amra. Jambuka, Kapittha, Bijapuraka and Bilva) and mixed with oh and allowed
to dry in the heat of the sun, and if this mixture is put in the yoni, it destroys
the foul odour,

N. Recipes for Contracttno the Yoni after Delivery

AND Allaying Pain from Swollen Breasts

80, The powder of Suragopa (Indragopa) wonn, mixed with the root
of J^aravp/ZoCMamordica), applied inside the yoni of a woman who has delivered,
contracts the same.
81, Grains ot IQilama rice mixed with milk, and drunk for seven days
by a woman, make her milk increase in quantity like the root of the Fushkara
flower grown in water.
82, If a paste made of Jata (Vishala, Indravaruni) is applied on the swollen
breasts, it removes the swelling. The paste made of the root of Ktmarika with
Nisha (Haridra) and applied on the breasts destroys the pain from swollen breasts.
(The commentator has interpreted this differently, but it is not correct—Transl.)
83, If a woman who has recently delivered partakes of the following
mixtures, she can make her uterus to contract:
The root of Malady drunk with curds.
ZVm/ri mixed with ghee and honey and taken in the morning.
Powdered Nisha (Haridra), taken in the morning.

O, Body Odour and Its Prevention

84, The powder from the barks of a mango tree and a pomegranate
tree, mixed with Shankha powder and applied on the relevant part of the body
removes bad odour. The powder made of Chincha (Tintidi), tamari nd and Karanja
seeds if applied, also removes bad odour. (This stanza pertains to the subject
Vie reverse of a folio illustraimg Chopjcr It, K.-™ 4 of Rati Rubasya, h'arijf I brli ren/urp
{From the CoHeclion of Shri Sarahhai Navab)
PI. B2
 aphrodisiacs and other secret recipes 97

discussed in the next section; hence the title given to the section should be before
M and not before 85 as printed in the text—Transl.)
85. The powder made of equal quantities of Kakubha flowers, Jambu
leaves and l^dhra, and applied in the hot season, removes body odour caused
by persp[ration (caused by the warm weather).
86. Skin diseases caused by perspiration (odour, etc.) even in the summer
do not occur if the powder made of Jttidra (Lodhra), Ushira (Khasa), Sfurishaka
and Padmaka is sprinkled on the body.
87. The powder made of equal quantities of Sandal, Kumkuma (or root of
Pushkara). Lodhra, Tagara, Vafaka (Hrivara or white Maricha) is sprinkled just
once, removes body odour, however much (strong) it may be.
88. An ointment made of equal quantities of Biha and Sfiiva (Haritaki)
or Amalaki^ on application removes odour from the arm-pits; so also the paste
prepared from Putikaranja seeds mixed with tamarind (seeds with outer covers)
on application removes odour from the arm-pits.

P. Mouth Odour and Its Prevention

89. The bark of a citron even if chewed once removes all foul smell
from the mouth and definitely removes constipated breath.
90. A morsel of Kusktha^ Elavahtka^ Ela, Yashthimadhura, Musta (Mustaka)
and Dhanya^ removes all foul smell from the mouth and also destroys the (stroncl
smell of garlic (^huna).
91. A pill made of the powder of nutmeg, its bark (Javatri), Phanijja
(Tulasi Bheda or Gandha Tulast), Bafdika (Kumkuma) and Kusktkaj if kept in
the mouth destroys hallitosis. (The commentator has wrongly taken these two
Items in 92 and commented wrongly upon them—Transl.)
92. Teeth-cleaning paste should be bitter, having the taste of chilli-powder.
It should be astringent and should have an oily base for its preparation. (It
removes foul smell from the mouth.)

Q. Reqpes for the Improvement of One’s Voice

93. A paste made of nutmeg, cardamom, PippaJh Lajaka (Ushira), honey,

and citron, if partaken freely, helps a man to get as sweet a voice as that of a Kirntwa,

R. Beauty Aids for Women

94. Women who powder their bodies with the mixture of sesamum.
 98 RAT] RAHA5YA

mustard, Rajamdmya (Haridra and Daru Haridra) and Kushtha emit a strong
fragrance and vie with the very britlianceof gold.
The charnung colour of the timbs of women becomes fascinating
with the use of a powder made from Nimba, (Amaktasa), pomegranate
and Shirisha with turmeric and Musta fBhadra MustaJ.
96. If a paste made by mixing black sesamum, black Jimka, Siddkariha
and plain Jiraka is applied on the face, it not only makes the face glow but also
hides the spots on one’s body.
97. If the pith of Bodara is mixed with jaggery, honey and butter and is
applied to the body, it removes the spots on the body or if the bark of Varuna
is mixed with goat s milk and made into paste and applied to the body, it removes
the spots on the body.
98. A paste made of Lodhro^ Vacha and Dhanyaku, if applied, removes
the pimples growing on a youthful face. Another ointment made with bfQFichs
and Gorochana is equally efficacious. (The commentator says that the first one
cures a person of Fidaka, a sort of wound or ulcer due to gonorrhoea and other
contagious diseases—Transl.)
99. An ointment made of husked barley-powder, Y<ishlim€tdhu, while
mustard and Lodhra undoubtedly makes the faces of women glow like gold of
the finest quality.
100- tOl. If equal quantities of ripe banyan leaves, Kancbmtapami f Kacha-
nara), Yashtimadhu, Friyangu^ lotus, Sahadevi, Harichatidma^ Lakska BaiiUka
(Kumkuma) and Lodbra are mixed with water and made into a paste and applied
to the faces of women, their lotus-like beauty becomes as resplendent as the
autumnal moon.

S. Rectpes for Uplifting Sagging Breasts

102. When antimony mixed with rice water is inhaled continuously the
breasts become enlarged and uplifted and act like the robbers of the wealth in
the form of the hearts of amorous young men.
^he text is corrupt in the first two lines. The commentator also has not
been able to grasp the meaning—Transl.).
1UJ-1U4.
■ • CPriyangu), Vacha and Katuka.
mixing It Knmajah (Uualu) and fHaridra); then, taking a quantity
of cow s and buffalos milk and an equal quantity of oil, an oily paste should
be prepared from all these ingredients according to the proper procedure If
this p^te IS appbed to the breasts, thrice every night for seven nights, it enables
even old women to have steady, large, uplifted and firm breasts.
 APHRODISIACS AND OTHER SECRET RECIPES 99

105. If the palms are smeared wilh the excreta of a domesticated monk^
fed with butter and yellow orpiment, and then used for cupping and squeezing
the breasts, they can be easily uplifted. {The text is corrupt in the first two lines.
The commentator does not explain Musbtiba/tdfta—TranslJ

T. Recipes for Causing of Sexual Anaesthesia in Women and

FOR Its Removal

106. !f a man puts the powder of Si^agopa and Bftumilata (Shankhapushpi)

in the yoni of a woman, any other person approaching her gets no satisfaction
in sexual congress, like a warrior whose weapons have become inelTective.
(The title of the section in the text, should come before this stanza. It is
missing—TransL).
107. If a man anoints the excreta of the ValguU bird {flying-fox, bat;
Vagola in Gujarati) flying in the sky, on his phallus and if he then unites even
once with a woman, she abandons for ever her desire for sexual congress with
another person, (Some persons mention one’s own excreta—Transl.)
108. Having heated the excreta in an earthen vessel covered with a similar
lid over it, and then mixing it with Ka/}Jika (Kanji) and applying it inside the yoni,
makes a woman regain her original natural state, and helps her to become a source
of happiness (sexual pleasure).
109. If a man unites with a woman whose yoni is anointed with the
semen of a donkey mixed with that of a red-faced monkey, he does not desire
any other woman.

U. Recipes for Causing Impotence in a Man

110. A man becomes impotent if his semen is taken on and folded in the
Bahuvara leaf, then wrapped in an Afaktaka leaf and tied to the leg of the bedstead.
111. The powder of Shadbindu mixed with the urine of a goat, and with
the powder of Rajani (Haridra and Daru Haridra), if eaten, brings impolenee
without doubt to a young man.

V. Recipes for Curing a Man’s Impotence

112. If the powder of Gokshura with sesamum is prepared in goat’s milk

and drunk with honey, it cures impotence definitely within a week.
113. If during the union between a man and a woman, the bone of a
camel, pierced with the bone from a man’s hip, is placed on the pillow, it is
100 RAH RAHASYA

sure to cause extreme passion. The phallus remaining inside causes the quarrel.
(The commentary is not correct. There is no quarrel but the union lasts for a
pretty long time as a result of the use of this charm—TransL)

W. Rrcipes for Engendering Enmity

114. If the blood of a crow as black as oil is mixed with butter, and if
this mixture is ofifeed to a sacrificial fire a hundred-and-eight times with a
Bilva stick, mentioning the name of a particuiar person, then enmity is sure to
ensure between that person and the one who performs the rite.
115. An offering made with the down of a crow and an owl and taking
the names of the couple, also has the same effect. An ofTeiing made with Nimbct
leaves on which their names have been written with the blood of those two birds
also has the same effect.
116. An offering made in the house with the hairs of a mouse, a cat, a bird
and a Digamb(i/"a, causes enmity betw'een the inmates. (The commentary does not
give any meaning for ‘Digambara.* Even the reference to a Brahman is not clear.
It says that a lamp is to be lighted and incense made of theseisto be burnt—TransL)

X. Rec[p£ for Creating Friendship

117. If incense prepared from the sap of Surataru (Kalpavnksha), musk,

Vacha, Agaru (ICrishnagaru), and Sandal is kept (burning) in the house, it engenders
mutual affection.

Y. Recipes Recommended by Nagarjuna

118. Many recipes have been recommended by Nagarjuna, based on

fourteen ingredients. Those that have proven successful and are relevant have
been selected by me and enumerated here in this scientific work. (Kanchinatha’s
commentary on these stanzas is not available—TransL)
! 19. The pollen of Bhn/tga (Markava) and that of Mohaiata (Dhattura),
if u^d for making a mark on the forehead, helps a woman to distract the world.
Lajjalu mixed with Ajakami and Rudanti and Sahadevi and used for making a
mark on the forehead, also has the same effect.

a. Nagarjuna's Recipe for Hypnoihing a Person

120. If the mixture of Suravarmi and KrUanjaii(Lajjalu) with Shikhishikba

 PLC

A fsmaiefigure, illustraring
positions of Amria-kato^
H'AfcA have to be melted on
respective dates of the
white and dark halves of
the months for proper
emoymenL IVith verse in
old Gu/aroti
 APHRODISIACS AND OTHER SECRET RECIPES lot

and Anjarika is placed in the yoni of a woman, it generates enslavement both

in the woman and the man. (The commentator says that the woman becomes
enslaved to the man and the man to the woman—TransL)
121. Similarly, if a person’s body is anointed with the paste made from
the pollen of Bkringa (Lajjalu), Harajata, and the root of white Arka^ it enables
him to enslave others. So also the pill made from Kranta (Vishmikranta). the
root of white Arka^ Pimjari (Putrajari) and Harajata.
122. The paste made from Goclmndmaj Ajakarnu Rudanti^ Kanyaka and
applied inside the yoni, engenders love in women till the day they die.
123. The powder of Lajjahtka, Sahadevi, Kanya and Corochana, if given
along with beteMeaf, is the best recipe for the enslavement of a woman.
124. The paste made of Visimukranta, while Ravi, KrhanjaU and Shikhi-
shikha, anointed inside the yoni of a woman, causes her to get the orgasm, and
if anointed on the body, it acts as a recipe for enslavement.

b. Nagarjuna's Recipe for Delayed Ejaculation

125. The pill made from the powder of the pollen of Bhringa and Konya
mixed with Vishnukranta and Sajatika, and kept in the mouth, delays the flow
of semen during sexual congress.

c. Nagarjma's Recipe for the Attainment of a

Woman's Sexual Happiness

126. A frustrated woman can fulfil her passion by anointing her yoni
with the paste made from Vishnukranta^ Harajata, and the pollen of Bhringa
mixed with Sahadevi.

d. Nagarjima's Recipe for Impregnation

127. The powder of Gorochana, Dandotpala, Vishmikranta and Kritanjali,

drunk with water after having taken the bath following menstruation, enables
even a barren woman to conceive,

e. Nagarjima's Recipe for Painless Delivery

128. The powder made of Puntranjim and Kumarika mixed with Shikhi-
shikha and Rudanti, if paced in the yoni, enables even a woman whose foetus
is not in a proper position to have a painless delivery. (The v.l. Putranjiva is
preferable—Transl,)
102 RATI RAHASYA

Summary

129. Finally, if a person anoints his or her body with the paste of Harajata,
Rudantiy Shikhishikha and Sahadeviy he or she obtains success in every venture.
130. In conclusion, Kokkoka, the son of Shri Gadya Vidyadhara. who
was highly respected among scholars and poets, the grandson of the learned
Tejoka and the great-grandson of Paribhadra, whose fame was sung by the wives
of gods and men, has presented this work for the benefit of lovers so that their
curiosity in matters of love may be appeased, (v.l. Vaidya Vidyota for Gadya
Vidyadhara ts given in the Tippani. The commentator takes Patibhadra as a
name of the father of Kokkoka and equates it with Shri Gadya Vidyadhara.
But looking to the genealogical order in the first two lines, it appears that the
commentator is wrong here—TransI.)
APPENDIXES
104 RATI RAHASVA

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4 I .
A
1^1 ■4
c/i di oit- 6_ O'
I <«la < aj 2 4
vi
cC
0^
<
 APPENDIX 111 111

1 ■w
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112 RATI HAH ASYA

I 8
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B=
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type; favours much sexual

j’ruutfAa of ihe Sktaiha
DO
a
3 T5 5w *o
CLASSrFrCAXrON OF WOMEN ACCORDING TO AGE

&> S «
11 cs ® .E -o

Very passionate^
» 5 o
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s ^ lA ^ a I? '3 .a
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S 5) <5
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congress.
3 uo Su SJ
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a d
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115 ,S
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fld
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& fX

Above 30 years and up

3 3
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to SS years of age.
o 2 «si Di
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so a
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Accord!Dg to Gimapth
taka R.R, 4-3* 4*

m
sd 24
R.R. 4*1, 2t

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T .S otf v\ " Ed£
4-g « ■4- ^ "g a! 4
id G£ §1 U2 €C
a! < 1 d fji < S q1 <
 APPENDIX rv in

e
i
S
1^
^ .
"I-za
U

i«
H ^
light and accepts the offer
immediately (of congress)
Favours congress in the

O ° £
U *
”i £ I- ^
■s SI
'1> Sp£'&<
in darkness.

CL
cC5 Z
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Above 30 years and up

&
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to 50 years of age.

O O
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Si
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P.S. 2-13,16.

n"
-a- 00 - a

B^
4 ^fd
od lA od
< ec < 1 CL
 114 RATIRAHASYA

Af PENtHX V

CLASSIFICATION OF FEMALES ACCORDING TO SATIVA

Dta rot** Sari Gafdhmta WiihaehA

frAgnjil ef SifliidMCli: I^» rrooL FcwiK Clvwc Ha lair-rtApctt;

IVJ4.1IL ■1^4 fniw : ^■doii; dalna jnpiil EU3pEr£ ptmeati boapiuM#: fluCCOdOlB: ^
pkAHzv; codnu in «afl4ai ■ krt; ■lucitDrm; Jilu m fmn^ llmln UEJcmutied
bavinf lafdaA, lalf^ ilHpy; oAavi wm pfUadi: ■nd WMiaj
uhI ■ fotloiPtiii iwi, blU: ImIjfhIwM. pcrfuraat^tfl- «a4itllciaE;
of madly ■fuflf* initibl& «*Tiiv: ttfcpi ilriaka miim*
Id iTTH^lc

P.S, WaiJt havlj^ bi| slaDCca; Wandcrijap «

iBiBfl fotda: add baawr: ad^t in dano- DUHimajai;
node body fak aod ins smaict Hd-Bibbi at
devar; body di'oopbii: eye* body Odonr idiht; ralDkl
odour lika ibat llike iboH of a fripaDt; food dittr; 4'MmJ'
oTaldlilfc; d«r; lirilBblc: of ■aiiaaeb; ianc: ccndwt
•ofElikna and. ibamaini; Ukai djiHii*|ftT wd Toed Doi
Kotaki Oowtr^ ipaacb pleai^
nnddct pun ■ Ins; cattibh
la mdh
coflUfHad: and Blaat.
^omaii Uadi
iOoJ; appaar- In cokNo ijid
voice ptcaaini anoapl^np abert; food of
pifed Uloa tfaaE of
dki)^ ekPtItfL,
a »KfcooL

JULP. ttodydaan SJumekn; 5i|3yiiii r>wn- Cbwfii]: dnaa SdfC; cti^vaf; BndrbafvawJ
H. and fr^piuit; 4^Ldct| coIcqs Cadi wiAtlcrl^ii; daaa^ rooil of htwpliald*; ia£l; no idT-
fKa|P)Msli|g; In ptdon, iaU^ itaiR/: a«lfta" M\iiUfl«id ptactlafiai von rtaiKi; aaia
vanlii^ and cowbrre^ofl un, ^4- andUia Bovqrt^ adapt and fialiind^ ucaE ■■fcrf
llainnc rdiaclrt^ dc.; iiTllabla: tftv CnCaoiiL In daodngk dfiDki lalm;
and icnanii: oflarlpt Ad/I. 4oaf andldHm- laopMni;; mlH
wonUppinf iiHdUi onilk:! Uzi4 mi a’iwy-^
ddileu fmd tf ptftaaant ikbia: nHidlal
talk; mtmtnMM. Id tqua^

A^SL paoa SliaisiJda; hu hftiHbod; Foed of oraaie; HoipluUa C^daict

tv. 11-2IIL tiodjr odour maai uM drmigi nndcrfdg; dtilat; fond fVioiidly; Tond otT la^Klaan
lilca Uut 4d'a braam i ram^ or pcrfunaa^ lovidf; isjqd ■ad mqoh Tfiod;
lolia; adquHh MIt bod^falf Iqi: daapy. cuianda^ pu-tL pracUv wlcJndii llmba
ud: add Ulu a UmbanOI Eta^ Idi aSdoiT fovL Mfm; alidri;;
pntv aairitkfi Chuttpakal^ Tomiad : ipori- daak In eolgor;
apMda pbaUqt: nt; iirliabb;; Ins; draaaai fKadafgniHd;
wfaitiiri bavtiij alwira dbqlna dean and r»A
maor foUo iwa CoiEiPr
 APPENDIX V 115

Ksko Kilmtt Vwun Kmpt HoAkkh £I«hh G<tfa

Qimaqtaek; SpMehMntn-
Tatb IiiD|P7; dicw m liKhlii: tcTHtefa-
rrigbUbl. wbii It ma I? lui a4d bJ4lilfS
iHTi iriiyifkt iDciiltUr not
pruki ifriib Muod.

GltiHH qoklc: Spcacb luanhs Em rr^bqcd; f^aod oTIittnli^: Kitnddihi; OlaltomaiMS

hungry: mimr- raad dt bfitiidf; KTUftliiti tad ddliCfi miftd wry drottf::
im; (ivini ad Ifaqinpifif b^nifT>K tia- ud tt4«beffl (jBEOM04tfld;
pIbCci; iA cdims lovtng aUtld to4 Bftimjiiis ftii likEibtl
CaltBI UAIfAd bcr 1^; Rirffiiri iQ food ■m rfHit tM ^ta ctephani:
by otlun: siLiid iHfth»: emt- drfnki wlat; cyet irniJI mod
itAdy; nOt aer iuE«d. with nay Atn nnom aot wJdt Ofaa;
CURwItt^ nn^ food. tvg#[ iVuJtti; ^qdlHftf El rnd of uti;
tlildg; bfi4h-
food.
fiicbloacdr

Tollkki tlffi' SpHob htiih Vtrr tetite;

kMly; g^tncc* tad Hi QltM *m GritbEowd;
qokk; WT ia|£ not foiid bbiit^
bUBflT^ oTbtihi uil
rLnawirm—
116 RATI RAHASYA

5 S
Q I iS^
I ,3“I
^
■2

£ ■£

&
d .S g s ^
2M. -=^
c ^
SP — at
0
iA 2 ^
2i S
CLASSIFICATION OF MEN ACCORDING TO AROHA

? M 2 4j 0) C U) g*
% £
il!^ E I 4c
^ G -•M

* « s I s~ ^
y?
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c: o (A
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toisc
redd
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 APPENDIX VI 1X7
Mucous sirtcll tioi

o
mentioned.

ect
Middling iu sexual urge.

^ 3
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^ «s| " rt 2
gig
n i2 I ns ?g a
Voluptuous.

8 ^
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C Q W
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speech.

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id

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o CL fl B o
Very dignJfkd

8 BQ « "n u
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Haughty.

** S ji"
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B§ S S 11 g
Q ? HI 1-^ fcd
shoulders broad; fleshy *
Limbs big and broad»

os 1
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1 3
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V?
«>4

00
2-11 10.

lA rA
d oi
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iiE RATI RAHASYA

. A £
J _H^ -S
-g ^ 5
“ w “1^23
p g x;
§■2 o §
a Sa ^ £i
£ o e “4
9
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e+- -^tflQdJZQ-ZO

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o a
SmX ^ 3 o *5 4? ri
Z U £ aS ?

1
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o
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n &
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a
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Q
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S! I pS •p "S u
41
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£^■52 S s
a
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o
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M o
ftq attiwuu2:o^^2;o
fit;
Oi
I s
i w £
3
I ^ H i2 ■< ^ Z Z rt < 2 U □ wJ1
fc K e

> 0£(ft «k— I

d
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I <^Oi^XO^ZO »<
u
^ -s - -
- p Js -3 -s ^
I H
£*>■£§“^3 .E
ȣ S I E I-= 2 E
S« P S-S nj
n o ai::i2 3-2 sC
 APPENDIX VllI 119

£ :e s £S ££ £ £
a ».

1 rt s.« S. ca cd
35 >0
_2 TJ ^•2 -o J2 '5 -ts
C
E § "2 §
<* ^
C2 -O
I? R ■rt c
R
5 ,2 -c
SSu £ u ££ U £
2 §
«> s i> 4 <ei <4 14} <4
c ^
CLASSIFICATION OF RATAS ACCORDING TO PRAMAffA, KALA AND VEGA

^ ^ >> S S S
|l H P. •
>

1 ■3
£ £U
^ fid
■g^
Ofl

§•§
£ £
SL =!
"2
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°
= ji
£u £
■3
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S £E ££ ££ £ £
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a"! •- a IS
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1 ■i * ‘ •P

^ - 3 g.
3 ^ =^ 3
S’ 5 2 2
1*1 to x:
5 ^ flg
^16 jS S u U

H 2 R
JC5
Cl 'S
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rt -S S' 1 ^ jc; C >
M- «^ ■C 3C tfi > cn
^ <« < <1
o ■a |;s 5 ^ c S
1 00 3 ^ 5 J1
'Hi c "S ■§ 3 'C
a: > a: £> > £ £
fl
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Q ^ so » ^ Ol IS %o
2
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<
8aw 1 , J
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 120 RATI RAHASYA

appendix IX

CLASSIFICATION OF FAVOURABLE TlTHtS, YAMAS, ASANAS, ETC.

Name of the
Work Titki Kama Asaiui Mmtra

Padmini
R.R. 1-21,22. Fourth of day and Paakaja.
night.
P.S. 2-1, t-10, 1, 2, 4 S. Fourth of the ■■ m Kame^ipam on Sptxday.
2S; 3-d5. night.
A.R. 2-4 to 7; 1, 2, 4 & 5. Fourth of the w m -4o-
t-l6; 7-34. night.

OnriUNi
R.R. ]-2D, 21, 2, 4, 5. 6, S, First of day and N^gara^ Kamade\'a,
22. 10,11. nighu
P.S. 1-10; 3-65, 6, 8,10,12, First of the night. m 4 Kamffshmfa oa Sundayp
AR. l-ldf 2-8; 6, 8,10,12. First of the night ■■ 4 -<JO”
7-37.
Shankuini
R.R. 1-20, 21. t,3,11, 13. Third of day and Vemahriia^ Kamadeva.
22,23. lUghL
P.S. I-IO. 3, 7, It, 13. Third of the night. .. J&m^shvara on Sundj^y^
R.R. 3-12. 3, 7,1], 13. Third of the night. ■i -do*
HASTtNt
R.R, 1-20,21, 9, 7,14, I S. Sei^nd of day and Skandkapada^ Kamadeva.
23. night. yugala.
P.S. I-IO. 9, 14,15. Half of night and -- Kaimshyaft! on Sunday-
day.
A.R. 1-16. 9, 14, 15. Half of night and -do-
day.

none oi lire amnors gives t'amaha for any of these four types. Koktoka docs not give
Mantra for Padrnmi. Jyotirisba does not give the Asanas for any of these. Kalyanamalla says
that Padmtni does not give pleasure at night and sUll gives the fourth Yama of the night as favourable
to hCT. He refers to s^ual congress of Padmini during day also. Jyotirisha says that Hrhis for
Natini are given according to the opLoion of Vatsyayana. This is strange as there is no rneotion of
PaJmml and olhere in the cxiant text of J&raa Surra. It should be noted that Sl Ali Akbar
the author of Shringaramaitjari, also says the same thing and this is enough to prove that the extant
text of f^ma Sutra is aUo corrupt and faulty. Kaiyananwlla generally follows Jyotirisha in giving
the TiVAir, Yamas, etc. It appears that all texts arc feuity to a oertain extent as far as Titkis Yamas,
etc., are concented.
 APPENDIX X

NAMES OF FRUrrS, FLOWERS, PLANTS, TREES, ETC., MENTIONED IN

RATI RAHASYA, USED IN THE VARIOUS YOGAS SUCH AS
VASHIKARANA. VAJIKARANA, ETC.

Abhayu Jatikusuma (Maiati kiisuinaj

Agaru Jatipushpa
Ajakarni Jatipatri (Javiui, H.>
Aragvadha (Amalatasa, H.) Jayanli
Arka Jiraka
Avakpmhpi (Apamarga) Jvalana
Avishringi (Basiashringi) Kadamba
Badara (Bcra, H) Kakajangba (Gunja)
Ba1aka(Hrivani; Shveta amiicha) ICakubha
Bah u vara fCalama
Balhika (Kumkuma; fCanchanaparm (Kunchanara)
BhaUataka Kanyaka
Bhuniilat& (ShaokhapustipiJ Karanjaka
Bhringa/aja KaravcUa
Bijapuraka Karavira
Cliiftcha (Tioiidika) Karpasa
Dala (Tejapatra) Kashmiraja (Kumkuma)
Dadina Katuka (Katuka rohini)
Dandotpala (Sahadevj) Kausumbha
Dhatturaka Kekishikha
Dhatri Kcsara
Ela Kharvashri (TUaka)
Elavaluica Kimshuka (Palasha)
Gada (Kushtaushadhi) Khaiamanjari (Apamarga)
Gaja (Nagakesata) Kovilla (Bilva)
Ghananada Rranta (Vishnukranta)
Ghosha Krj$haajlraka
Girikami Kiitanjali (Lajjjalu)
Godhavali Kiunbhikashmasbru
Godhuma Kumkuma
Gokshuraka Kushtha
Gola (Manahshila) Kusuinbha
Gunja Lajjalu
Harajata (Rudrajata) Lodhra
Hart tala Lajaka
Harichandana Madantika (Madantt)
Hayagandha Madbuka (Yashtimadhuka)
Ikahvaku CTikla tumbi) Madbukara (Bbringaiaja)
Ikshuiaka (Kokilakslu) Magadtuka (Pippali)
Jalika (Koshatald) Malayaja (Chandana)
Jambu Mansi
Jati (PJaksha) Maricha
m
 122 RATI RAHASYA

Masha Shirisba
Matulunga Shiva (Haritaki)
Mohalata (Dhattura) Shriphala (Bilva)
Muni (Ag&sia) Shyamalata
Musta (Mustaka) Siddhaitha (Gaura sarshapa)
Naiahala Siuduvara
Nagaiccsara Sinhipala (Brihati)
Nimba Sindhujanmashaivala (Jalaaiti)
Nisha (Haridra) Sitabala (Sitapushpa)
Pataia Sitadunra
Phaa^ja Sita brihati (Sbvetaphala kantakarika)
Pikalochaoa (Koldlakslia) Sitagirikanii (Pandum aparajita)
l^ppala (Ashvattba) Sitasbarapuakha
Priyangu Sunhi
Puoatnava Sural am (Devadani)
Pushkara Tadabija
Putikaranja Ta^ra
Putranjiva TaJisa
Rajanidvaya (Haridra) Tambula
Ravijata (Sbvtitarkamula) Tita
Rochana (Gorochana) Utpala (Nilotpala)
Rudanti (Shvcta aparajita) Vacha
Rudmjata (Harajata) Vajri (Snuhi)
Sahadevi Vata iNyagi^ha)
Sahakara Vanari (Atmagupta)
Saptachchhada Varshabhu (Indravarum)
Sariva
Vidarika (Shalapanii)
Saijarasa (Rata) Vi^hala (Tndravamni)
Shatavari Yava
Shankha chuma Yuvari (Priyangu)
Shikhishik&a
 Appendix xi

TWO ILLUSTRATED MSS. OF RATI RAHASYA

by
M. R. Majmudar, m.a.» pIi.d., ll.b.

We cannot say with certainty that the art of miniature painting in India
began in a religious environment, and was intended to edify the spectator as well as
illustrate the text; for, we do not know when or in what connection the first manus-
cript'illustrations were made. But the oldest of all those that have been preserved,
coming from a littie before A.D. 1000, appear in a religious text, and it is not until
over four centuries have passed that illustrations find their way into any known
manuscript of a secular work.
There is a period of about six centuries, roughly from 1000 to almost 1600,
when, except for a few murals, the known painting in India consists of manuscript
illustrations. They are numerous during the 15th and the 16th centuries; for by
that time paper-making had been imported from Central Asia and Persia, and paper
was supplementing the older palm-leaf and birch-bark on which books had
previously been written. It offered a better surface for the copyist’s ink and the
artist’s pigment, and could be made into any size and shape.
There are interesting limitations of provenance and patronage of Indian
miniature painting during the first five centuries in which we know it. One area
is in the East, and comprises large parts of Bihar, Bengal and Nepal: there the
religion was Buddhism. The other is in the West, and consists of Gujarat and
adjacent parts of Rajasthan and Western Malva: and there it was Jainism that
employed the art. Curiously, these two faiths are the great heresies of India.
Orthodoxy, that is, Brahmanical Hinduism, is firsi known to use book-illustration
in the East in Nepal in the 12th century, and in the West in Gujarat in the middle
of the 1 Sth century in which place, secular use in non-reli^ous texts begins at the
same time.
The eastern and western schools both draw from a common Indian tradition,
which in its time and place is illustrated before them in the fresco-paintings of
the Ajants and Elura caves, Bui they afiSliate more closely with the contemporary
sculpture of their separate localities; and the differences between the two styles
of painting make it possible to draw so sharp a line of demarcation that no specimen
of one need ever be taken as an example of the other.
Painting in India seems to have been early difierentiated according as it
was meant for religious or secular purposes; and a part of Indian art is evidently
secular. Secular paintings came into vogue as a diversion and a source of
133
 124 RATI RAHASYA

instructioa. These p^nlings portray the actual realities and ideals of life—both
trivial and sublime, physical and spiritual, gross and subtle—as one complex
unity.
Though not so accomplished as the school of icmple-painting or the court-
art of the princes, secular folk-art is of exceptional value as a unique, comprehensive
and popular record of everyday life of the people.
During the fifteenth century, non-Jainas began to use the manuscript-
illustrations; and in a book entitled "Esoterics of Passion” (Rati-raliasyai is a
picture of Kima, the god of Love, a delicately drawn archer with flower-tipped
arrows, sprightly and sportive, in spite of the beard that so strangely darkens the
chin of the Cupid. Another erotic work of a fairly popular type comes from this
periods long roll manuscript, originally with 86 paintings, of the Vasatita VUasa
(Joys of Springtime), in which the same bearded Kilma often figures, and bees fly
around as large as chickens.
Rati or Kama or i^rhgara i$ the general denomination given in Sanskrit
literature to love and love-play, and its culmination. ‘Rati’ is an emotional attitude
of mind when one is attracted towards another person. This attraction may be
towards a deity, king, teacher, parents, children, wife/husband, friend, etc. That
attitude ol mind wherein one feels attraction towards a person of the opposite sex
is termed ^riigara, Kd/rut, etc. Several wnters on poetics and dramatics have
minutely dealt with this subjert giving the various Bhdvas, Anubhuvas, Snmradmds,
Sambhogdvasthds, etc.
The writers on erotics give details of the waxing and waning of CandrakalS
Of KifmkaB in women, in a month, for the bright half as well as the dark halt.
Even the ways and means of stimulating this for each type of woman are given,
which are not altogether similar.
These ways and means for stimuiation are ultimately connected with the
mind, yet are so independent of it. According to Padmasri (Ndgarasarvasva XVlf I,
Ratifahasya 10-6 to 9, Poitcasdyaka 5-1 to 4; Rdtitatnapraclipikdt 4-35 to 40,
Anangarahga^ 4-32 to 35), recitation of certain mantras excite the twenty-four
NddlSf finally culminating in the sexual urge. Other w'riters mention only three
Nddds, and say that the origin of these NSAls is in the Madanatapatra or Chkatra,
Kokkoka mentions besides this ddiatm^ the Madoftadola and Pwnacattdrd Nddls.
Jyotiri^a menUons Samhand, CdndramSsi and Gaurl. Kalyanamallamentions only
Pdrnacandrd, Both Kokkoka and Prauii hade varaja mention Karikara'krddd^ i.e.,
movements of fingers (in the Yont) which result in excitement of the female.*
*Dr. S. C. Upadliyaya, 'rndian Erotics—IT, Journal of the Gujarat Research Society.
VoJ, XVH. No. 4, October 1955, pp. 275,276.
M. KiiSDamachariar, History of Classical Satukrit Utetaturtt p. 892,
 APPENDIX XI 125

Kokkoka was the son of Tejoka and grandson of Paribhadra. His Rati-
rahasyam in ten chapters was composed for the delectation of one Vainyadatta* and
is an elegant and lucid summary of Kdntasutras, It is quoted by Kumbhakariia and
by Nayacahdra, and was probably composed in the 12th century a-d,®
There are commentaries on Ratirahasya by Kanclnatha, Avanca Ramacandra
and Kaviprabhu. Haribara's ^^rttgdrardsi-banilha-pradfpikd, is also aconunentary.
Kd/ttoj^dstram^ is a compilation of verses on erotics with pictorial representa¬
tions, one in each sheet; but the verses appear to be from Ratirahasya, which are
preserved in Tanjore Sarasvati Mahal Collection.*
In the profusely illustrated GUagoviiida Mss, of the Tate 16th century a.d.,
discovered by N. C. Mehta in 1945/ the illustrations are enclosed in a rectangle of red
lines, which cover the entire page with the relevant Sanskrit text inscribed at the top.
In these miniatures facial expression is generally the same, but it is remark¬
able how the artist has been able to make his hgures live by concentrating on
simple gestures and significant poses.
Kiimadeva-Cupid figures quite prominently,and is generally shown standing
on one foot, and shooting the fiower-edged dart of love. This delineation of
Kiimadeva lias been anticipated in the Ratirahasya folio where he has been shown
in the tri-bhahga posture.
It seems that Kokkoka Ehatta's Ratirahasya, a work on erotics written at
the end of the 12th century, was very popular in Gujarat. There is a folio from
another illustrated manuscript of the Ratirahasya, which has an illustration in the
margin on both sides, depicting a Ndrihanjara procession. The elephant is made
entirely of the figures of women and is ridden by Kama shooting arrows. Protrud¬
ing eyes appear, which probably show* the lateness of the picture.
The Hindu art is mainly hieratic, but side by side with this canonical art,
there exists the popular form of pictorial expression—the secular art—which
is really the survival of the early folk-art. By way of relief from the stereotj'pcd
patterns of a hieratic art as reflected in paintings from the life^stories of Mahavira
and other holy persons, we come across a number of secular paintings which have
a long tradition.

iigntr; sT^nr-ti i

nT>*irH ^1^+1 U ^ ^ ^
The colophon reads: 1% *sft t
’•Tanj. XV, 73S6. ’‘Tanj. XV, 7355.
M. K-risnarnttcharier, History of Classical Stin$krii Literature, p. 892, footnote.
* N. C. Mehta. *A New Doemnent of Giyaraii Faintings: A Gtyarati Version of Gitagovinda,*
Gujarat Research Sockis Jouriiah Vol. VII, No. 4, October 1945.
126 SATl RAHASYA

The Kamasfitras of Vatsyftyana are closely coimectcd with what the dassicaJ
philosophers called the “achievement of the purpose of life.” The ideal of life
according to Vatsyayana is one in which the three elements of Dhanna, Artha and
Kima are harmoniously blended together.
The early erotic bas-relief of Badami and the figures as are found on the
sculptured walls of the Khajuruho^ Bhuvane^vara and Kotiarka temples, point
to the prevalence of a taste for such eroticism in sculpture and painting among
the artists and their clientele.
The celebrated and accomplished courtezans in India used to maintain pic¬
ture-galleries in their residence which included among other things scenes depicted
in accordance with the Kama^stras. Hemacandrasuri (11 th century) hat noted
in his Trha{iti-‘^iakd-Piirusa-Carita that Koift, the accomplished ganikd of
Pataliputra maintained a gallery of such pictures. ‘
A MS. of the J^tirahasya from Gujarat has a beautiful miniature painting
on the first folio. It is reproduced on Co'lour Plate A and gives a very charac¬
teristic portrait of Makaradhvaja (Cupid).
This rare MS. belongs to the collection of Mr. Amritlal Bhojak of Pattan
(N. Gujarat) who was good enough to place it at my disjmsal, through the kind
offices of Muni Sri Pu^yavijayaji of Sagar-no-Up5iraya, Pattan, an ever-willing
helper to inquisitive people.
The other specimen is a stray folio from another MS. of the Raii/'ciljcsyffj
from the collection of Mr. Sarabhai Navab. It is believed to have been sump¬
tuously illustrated, as the extant folio is painted on two sides, illustrating the con¬
secutive verses 3 and 4 from the &i4ikald Adkikdra. (Colour Plates B1 & B2.)
The discovery of these two specimens from Gujarat is important in as much
as they provide more documents testifying to the prevalence of the provincial
tradition of painting in Gujarat.
Now to turn to the Ratirahasya,^ the subject-matter of the secular miniature
* (i) Juiifuniiii 1

(ii) Stt^dso Anahgar^figa (I6th centuiy) Ch. IX, for the adornment of bedrooms with plo-
tures.

^^ t584)orpoci Gai^patifrom Amod

(Broach edited by me and published in the Gaekwads Oriental Scries No. 91, the
KiInia*)caiidaJi is described to have similar painltagsr—

4frf?qf^, 3iTtnT 31^ 1

5T^^#<iHrr|^? II

A printed edition oT Fatirahasya is available with DXplka of KSheinfith (Benares 1912).

 APPENDIX XI 127
painting.* It is a comprehensive treatise on Erotics, treating of the secrets of
enjoyment and is composed by Kokkoka, son of Vidyadhara, who flourished in the
eaily part of the 13th century, in Kohkan. The author has employed elaborate
metres, and claims to have used the cognate works of his illustrious predecessors
NandikeSvara, Gonikflputia as well as Vatsyayana, while compiling his work.
It appears that the work was much popular in Western India and Gujarat,
so much so that good many versions of the work such as itckfl-Ciiupaj,* Kokasora
and Bilhaitapaticasika}-^ in Old Gujarati verse are met with. The version of Koka
(a shortened name of Kokkoka) purports to be a story woven round the various
sections of Raiiraf\asya by a member of the Jaina clergy, who, it is said, was ex¬
communicated for his irresistible attraction for the subjea, profane to his holy
order.
The popularity of and the close acquaintance with the text of Ratirahasya
among the Gujarat! poets is further evidenced by the Gujarati version of Bilhana’s
50 verses in Vasantatilakd^ WTitten early in the 15th century by Jnanacarya, another
Jaina Yati. The prologue of his version which first invokes King Makaradhvaja in
preference to the Goddess Sarasvatt, very well suggests the nature of the theme
that is to follow.
The following invocation is quite reminiscent of the first three stanzas of
the Raiirahasya}^ i—

t ^ sRfir arfn^
?T«r i ii
vtxT I aiI'1 sffW-fnfi i
I tt
vxRx *nT {'sf Tt ^ ?’ l
flsff sT'Xfta i 'nofT 11
*inrxiinr*h^nTJTrT i i
i u
qir 5 t iroTth nirH^n ntt i
Wanin'«nwimThrfirraiftroJr ii"

* fitiistrated MSS. of Eater works on Brotics, like Anahgarah^ of KalySoamella in the tStii
century, ai the Court of Ibrahim Lodi are said to have been traced; but as none of them could be con¬
sulted, no obscfvaijoas can be ofl'ered on the point of their style of pictorial expression.
KidealsoDr. Hirananda Shastri's Monograph on ‘Indian Fictoriui Art as Developed in Book-
lit ustnitions,' Caek'wad's ArchaeolBgkaiSeries(1936), No. I, p. 3.
* Composed by Narbuddo^a at Burhanptir (Khaodesh) in Samvat 1656.
Composed by Jannociiya Muni, in 15th century a.d.
“(0 I
« f^TT^fer: II t n •
(^) I
* This introductory verse is wanting in the text of the iJlustrated foUo.
128 RATI RAHASYA

Kama is described according bearing the symbols

of a bow and arrow made of flowers, when he has two hands. The image of
Manmatha, who is identical with the Pradyumna of the ‘f^aktivyuha,’ should,
according to the J^ilparatna, be made to carry a bow of sugarcane in the
left hand, and to hold in the right, five flowery arrows, when the image is
two-handed.^*
The figure of Makardhvaja in Colour Plate A. is very elegant and typical.
The tri-bhartga pose gives a lyrical delicacy to the portraiture. The five-petalled
arrow in the left hand with the bow in the right, balances the entire composition.
The bow is presumably of sugarcane, and round about the blossoms of the flower,
bees are seen humming.
Among the striking points in the miniature may be mentioned the short
beard, the dhoti, the mukufa and the V-shaped Vai§nava mark on the forehead, over
and above the special characteristics of the Gujartitl School of Painting, which it
shares in common.
The outstanding features of the three-quarter profile, the angular face, the
eyes drawn out to the ears, further eye protruding beyond the facial line, eye-brows
in simple curves, pointed nose, and the form of anatomy, particularly of the crossed
legs—-these are in the general dialect of the pictorial language used in illustrating
the pictures of the Gujarati style.
The strange thing about the Gujarati miniatures up to the ] 6th century,
already observed and noted by Mr. N. C Mehta,**that the Hindus appear to have
had the same liking for the short beard as the Mussalmans, which seems to be
a remnant of old Indo-lranian custom, is noticeable, not only in the figure of
Makaradhvaja here, but also in the other representation of Cupid, mounted on
the nine-women elephant Nara-ndrhkniyara, to be noticed later. Over and above
the short beard of the Cupid, his long hairs are shown tied in knots at the back.
This description agrees considerably with the notes given about the picture 13 in
the Vasantavildsa'J^

ti snr TRirarri i

(l) Pttt: TsafNim I

liHHU^ll
11
If
II
** N. C* Mehta, Studies in Indian Famting^ p. 18*
** Gujarati Painting in ihe 1Century* a Further Essay Vasanfavii^^ p, 12*
 APPENDIX X! 129

•‘Shows the God of Love elaborately dressed, bearded, haloed and holding
a lotus-stalk in his left-hand.” % ■ u
The figure of Cupid is shown to wear a dhoti reaching up to the ankles, with
a short scarf thrown across the shoulders. The head-dress which is usually em^
ployed in paintings of this peHod is the mukuta-a. kind of peaked cap. The uiaka
is simply a conventional symbol used by the Gujarati painters for males, without
any relation to the theme or religion.
In absence of the date of the MS., we have to rely on stylistic grounds reter-
red to above, as well as other extraneous circumstances. We shall take into account
the nature of the material on which the miniature is painted.
The size of the paper folio is 3.7/8' K 9.7/8', the size of the panel of the
miniature being 3.3/4'X 2.3/4'. ^ • j* *-
In the centre and on two sides of the leaves of the MS. little dots indicating
rubrications arc marked in red colour for the binding string, after the manner
of palm-leaf which, being never used, survive only as vestigial ornament.
It is, therefore, assignable to a period when paper had just begun to come
in vogue, and when palm-loaves were becoming rare. It is remmfable that the
upheaval in Jaina learning in Gujarat, due to the ,"1®'
suAdara-^ttri (Icdrya in Sarnvat 1457, Nirvipa in Samvat 1499: the he™ of ^
SomasaMSgya Kayya) and his disciples were responsible fer havi^
of rare and valuable MSS. on palm-leaf copied on paper, to be districted over a
number of Bbandirs, The Wadi Purivanatha Bhapdhr at Pattan {N. Gujarat)
preserves a good number of MSS. of this period. r Mce
The other thing worth taldng account of is the calhgraphy of the MSS.
The style of writing, the marro on the left side of the letter instead of on the top
known as Prattmatra—(mdrrd opposite the letter) or Prst (matra o
back of the letter)-ittyle suggests a pretty early date for the MS.
Thus the illustrated MS. of the Ralirahasya can be assigned with the least
doubt to the latter half of the 15th century,
The stray folio from the Itatirahasyo (Colour Plates Bl & B2) containing
verses 3 and 4. has a bearing on the CaAdrakala which
chapter of the work. Fifteen places in the toale body arc
the order of the situation of the Candtukah ®f ® be excited
dates of the white as wdl as the black half of the month, which could be exated
by one who knows them, to get full enjoyment. ,,
A coloured sketch of a woman illustrating the theme, with oM Gujarati
verse is also traced from a Jaina Yait’s collection. ( ^
The third verse has a casual reference to U charsed
the trunk of an elephant. Of course, the suggestion m the text that is ch g
130 RATIRAHASYA

to this phrase is rather technical; however, the painter of the text has been tempted
to visualise a queer elephant, which can hardly exist in this world of reality.
This is the well-known Nava-ndri-kuhjara composition—a sort of a composite
animal, formed by nine ladies, with its varying import and significance.^* It has
been associated not only with the legend of Kiima and Rati but also with Krsna
and the Gopis.
The march of Madana (Cupid) on elephant-back, with his paraphernalia,
as described in poetry, has been portrayed in Colour Plate Bl. Another re¬
presentation of a similar description is met with in a miniature, painted on the
margin on the right side of the 16th folio of a richly illustrated MS. of the Kalpa^
Jii/rn. It belongs to the early part of the 15th century and was painted at port
Gandhara near Cambay, the MS. being now deposited at Dayiivimalaji Sastra-
samgraha Bhandara, in Ahmedabad.
It is interesting to note that the remaining three margins of this Ka!pasuira
folio have also been decorated respectively with a horse, a Mangala-kala^ and
a cart—all represented in the same composite form made up of ladies, suggesting
thereby that symbolism in some form or other is a leading characteristic of
Hindu Art.
The composition of the elephant in this illustration has a close resemblance
to the one in the Hatirahasya folio (Colour Plate Bl). The bearded Cupid is
shown in his triumphant march, with lady soldiers parading in his front. The
general atmosphere and the style of other accessories is almost identical.
The Vaignava representation of the Nava-nari-kuitjarfi scene, depicts Kxstia
playing on the flute in a seated posture on the back of an elephant, simulated by nine
Gopis who have cleverly so disposed themselves in a mutually interlocked position
as to create a complete illusion of an elephant. A GujaratT origin of this artistic
invention on various grounds has been suggested by me elsewhere.’^
The story, according to the illustration from a Bengali Vaisiiava paia
(scroll of Kr^naleeldcaritra) tells how Krgna, in the desperation of his separation
from Rudhti, wanders about through Vfndavana in the evening darkness, when the
gopis, in iheir love for him, resolved to divert his mind by a practical joke. They
did this by simulating the form of an elephant, as mentioned above, with such
success that Krsna, in his absent-mindedness mistook it for a real elephant; and
climbing upon it, sat piping a love tune, giving vent to the pangs of his separation
from Rndha. when all of a sudden, the elephant melted from under his seat. The

Vide my paper on'Significance of Nori-kunjara Pictimes.’ Vlfth Ofi^tai Conference Proceed¬

ings, {1933), pp. 823-826.
” Vide my chapter on ‘Samyojana Qtra’ (Composite Pictures) in Citra Kalpadrunm in Gujarati.
(l«5). pp. 72*94.
 APPENDIX XI 131
elephant lost its form as it dissolved. Ki^na found hijnsdf surrounded by nine
merry girls of the Yrndi groves* Radha, being the chief of them. This diversion
diverted Krena’s love-sick heart. “
Vaisnava saint-poet Narasimha Mehta (C. 1465-1530 Samvat) has, however,
a beautiful and original explanation for the Nawa^nM-kmjara. In his poem
Govihda^gamanat describing the popular incident of Kj^na’s departure fromGokula
for good, the poet introduces an artistic and a convincing interpretation of the
incident of this ‘nine-women elephant,’ as narrated below in brief;—
‘When Kfsna is seated on the chariot driven by Akrura, on their way to
Mathura, Radha in company of other Gopls intercedes, and makes it impossible
for the chariot to move any further, A scuffle ensues, Ki^na pretends to have
a nasty fall: accordingly he puts it forth as an excuse that he cannot return back,
unless a conveyance is brought for him.
‘The Gopls being pleased even at this reply, immediately asked him the type
of conveyance he would like to have for him. Krsna, cunningly enough, knowing
full well that it would be impossible to have a princely conveyance of an elephant
in the village of Gokula, asked for an elephant to carry him back to Gokula.
‘The Gopls were at their wits’ end at this unexpected demand of Ki-sna,
But RAdha, In about a moment’s time, regained her presence of mind, and nine of
them arranged themselves in the form of an elephant. Kfsna had now no other
go, but to act up to his word.
‘He, however, tried to put forward another excuse. He said, “How can I
mount an elephant without an aiikuia fgoad) to control him?” The Gopls replied,
“Just have the the softest of the soft and the hardest of the hard—^in the
form of our accumulated love for you. Pray, do not put forth any more excuse!”
‘Kf^na had to agree, out of genuine love and devotion of the Gopls: he
returned and revisited the haunted places, surrounded by the Gopis, who led
him to these places like lancers, who accompany the elephant to control him, as if
they held lances of love in his front!’
This composite form of the women-elephant has been described In detail
in this poem. Perhaps the symbolism around this incident might have been known
to Lord Caitanya, the Vaisnava saint, when he had come on pilgrimage to Dwarfca
In the west; however, the significance has undergone a vital change in transition
from the west to the east, as known from the Norhkuhjara reproduction by the
Pat uvus, which is explained otherwise.
Whether the artistic creation of such animals is real or false has been con¬
sidered by the editor, Journal of Indian Art and Industry for 1914, on ‘Indian Ani¬
mals, True and False in Art,’ etc. in a short Note. It is remarked that ‘Composite
“ Q. S. Dutt, *Tbc lodigcnous Painters of /. A S. O. A., Juat 1933,
132 RATI RAHASYA

figures formed of human beings are not altogether imaginary,' and in its support
the reader is referred to an extract from the Travels of Tavernier^ who wrote them
in 1676 in French. The French traveller refers to an actual performance by nine
dancing women of the kingdom of Golkonda for the diversion of Abdulkuiub
Shah who reigned from 1611 to 1672.
The same phenomena has been noticed by Sir William Jones in his article
‘On the Gods of Greece, Italy and India' in Asiatic Researches, Vol. I (1799),
on the strength of a whimsical picture of Ndri-kur^ara which he came across. Dr.
Moore has been tempted to identify this incident with Apollo and the Muses of
the Greeks in his Hindu Pantheon (2nd Edition, 1864), p. 293.
Thus, by the find of a new set of materials of secular nature from Gujarat,
we are now in a position to assert without any hesitation that besides many illus¬
trated manuscripts of the Kalpasutra and the Kdlakacdryakathanakam., there are
several illustrated works which arc purely secular. Their pictorial phase can
best be expressed, by calling it the ‘Gujarati School of Painting’ in preference to
Jaina Painting, for though, at present, most of the material of this school comes
from Jaina sources, there can be no doubt that the peculiar style was indigenous to
Gujarat and continued to be so, at least till the end of the 17th century.
 GLOSSARY
Aboia, Wom^.
Arwra/^ofm. Generating love in a pen&on.
Abhithata. Sadkiic Aaaviidatiii, Kind of ki$S.
Abhim£i>ip}^^ That which rc&ults ffoni muiual cutiLiict, Anvarih^u Kind of ki^.
due to a^rocabiliiy in love-Aport^ Apadtihff. Excuse; pretence.
Abkim, The |>rovince of the Ai^ras. {Shrikantha and Apo/iitito^ Kind, of
KumkshetTQ—Comm,), Apid. To prcK with foioe.
AblwgQ. Expoosc. Apraiikara. (Conunuation due to ) absence of preven*
AbhraghoshQ^ ThiindciiOf of doudSr tion.
Abhyarthitti. Kind ofkissr—Comm, Kind of kha.
Abhyasika. Thai whkh resutU from pmcUcc, being AniiihachajHira. K ind of ncil-mark.
near.
Arddfmpudmajano. Kind of Utrana rKisture.
A^f^urita^ Kind of nait^mojk, An^m, keddish.
Adhama. Low, Ar^ika. Size; length.
Backward. Anma. Red.
Adkiffamana. Downward^ Asodkya, Woman who b frigid.
Adfiya^ Aboundiof \n^
Asakishmta. locapaciiy lo bear or suffer paint etc.
Adii^ Mountain. Asakrit. Often.
Knowledse^ in divisiojiSp Aiktikh. The dark half of the month*
Afra. Poim, Askva, Man of the Ashva type.
^Aufldiu. Intromtssion with force. Asbaka. Sedentary from of sexuai congress.
Aibha, Kind of yyanafa Ejsip^ Aspkutifa. Being without aacks.
Aim, Kind of yyonaia Atro. Atdmgk. To transgress^
A/atabho^, One who has not capcncnced $exual Sexual oongFt^ wherein the male partner
pleasure. has the miallest aizOt the least duration and the least
AJdtmmaraktfi. One in whom love is not ongendcred. sexual ur^e.
Akhrfakit^ Huntings Atyticheka, Sexual congress wherein the female part'
Ala^hu^ Tightly* ner has the smallest size, the least duralton and the
Afidfmtok. Slightly kisacd and hence tiembling. least sexual u rge.
Afika^ The fcreheiicL Oral congress.
Aftngana, Embrace^ Av^diimbita. Kind of Ckirra Ai/o>
A/pawfa. One who has very little scsoal urge. Avftidi. To iKk; Ici^.
AnacHara, Some sexual practices and love sports not AvwiL The provmoc of U^ayiiii f ApaTa'Malava)^
favoured by sane women. A vbtmrdima^ Ahsenoe of violent rubbing.
Anangifgara, YonL Cbntrnuouj*
Amin^a. Yoni—Oimin, Avbk. To enter; conlact with force*
Amtgmanfa, Festival of Love; sexual congress; Baltic Ayafa. Long.
of Lavt^
A/tanyijpurva, Woman not married lo another pa3on Bahtifa* Exccssi^^.
previoufly* Sakulya. Exces; predominance.
Anchiiakara. One whose fingers of the hand are curved Bahirbakya Ai/o. Tumescence.
whale ‘‘cupping** a part such as hremt» Bahuttmln. The junv-pit.
Am^ra, Province silualed to the sooth cf ihc Nanmida Bakya Tlimescencc.
river and lo the eau of KarKiiaka. AjIu. Wdoumi 1« Shears of age or Mow* tt,
AfjgipHi^ Woman* BafkikOr The province of Balkh.
Ait^ardi^uinipidiia^ Kind of UttOfki posilSon. Ba/aMurfm. Fastened* glued, stuck.
Angtisaj^^ Mutual conucl of liniba. Bkaga murddha. Top of the yoni.
An^yasbtf, Frame of ihc body* Bhoitgi, Mode.
Anghri, Foot* Skmi. Sentirnent, emotion, feeling.
Ajtgulirma. TiUllaiion of ihc Yoni wiih Ongcr. Bhavahkuk. Mon ol the world desiring worldly plea¬
Ar^gtishiha. The thumb. sures.
AiflbhAta^ Not covoed* BhavofkidhL Ctilmindtion of pleasure resulting in
Anka. Lap, orgasm.
Atriarfjfa. Portion between two rivers. Mkavavassnar End of sexual excitement.
Antorbahyaroin^ Tilillation wiih fingers. Bhi/fd- To scratch with nails.
Atmkunna. Slight scratch. Bhram. To move in a Ctruular way.
Aiwraga, Love. Bhramara. Kind of ForiuAnyj/o.
133
U4 RATI flAHASYA

Kind of ki5a. Q&dgfxki. Indistinct OtT omvulsivc; chclted with €010*

BhrpAiiihlta. Idncract—Comm^ tiorL
(i> Keeping the hand in sudi a ai to CaL to tru^k^
p3aoe the head on II {Upoiffuma-Ccf^tm.) GQj\daitfMda. The temples.
(ii> Embracing with the hand. ProWiKc round Dacca, Rajashahi, etc.—Comm.
Bhuvana. The nuraerai fourttaL Gi^fdabhikQ. Kind ol Kyonfn RatA,
Bifidtt, Kind of teclb-mark. Ghana^ (i) Woman who Lt fat irvd short.
Bindumala. Row of tocib-niarka caJkd Bimtu. (it) Profuse trowih.
Bradhfui. The numend twelve. (Lli) Gosc; tight.
CkaifikArona. Conlnctioii.
OaAifr/i. FrJghiened. GfmK To come in Contact with.
ChfMfppfyn, Of (he colour (golden) of the Ommpaka Gfsafa. Sadistic act (TadBiHj—Comin.).
howcf, Giving blows with palms conti-
Chaitda. One having caccsslve Lthido. miously.
Ckapah, Qukk- ^karronw. Closely fining posilion of die phallus.
ChapafOr Blo^v w iih ihe palm open and insers atreiched. Gkaifiia. Kindofkbs.
ChMurifa. Kind of nad^marfc. Gashfht. Discussion in a sochi] group.
Ckhtih. Biuisc. Graha^ The ttutnctal nine-
Chiimka. Chin. Gramya^ I. RoraL vulgaTi iincidiurtd,
Cfiihaa. Chametcrntic—Comm. 2. Kind of Vifum posture.
Ckiktifa, Hair on the head. Grih. To situeeze.
Chifrarafa, (i) Fond of varioiu thingi such as gaimentSi Gifdhaka, Kind of tceth-mark.
etc.—Comm, Gwikapi^^ One whose sim are not known to others.
(ii) Fond of Chiira Transli GtihyA. Voni.
ChitrSni. Woman of the second type. Gtikyihitjh&, Portion round the yoni.
Chuehuka. Nipple. Culpha. Ankle.
Chitchutika. Nipple. Cvrjara. Province of the Gurjaras ( M odem Gujarat).
Cfmmb, To hbs.
Ifaro. The vowel D.
Bakjkina. tntelligcoU Harpia. The vowel L
DaitdaiJidhya^ Wonun who is won over h^ use nf the HofL The vowel A.
rod. ^nr/vOrwne. Kind of Chlfra Ruia.
Dtirpana. Mirror Has. To dcHde.
Dantachekhada, Llp« HasfakiJa^bhaBta. Same as Karikafakrida. Titillatron
Last day of the dark half rsf a month. with fingers^Comm.
l^jkana^iisana. Lip. Halting Third type of Woroan.
Dhammih. Braided and oitiament^ hair Hknkrifa. Kind of PffUte.
£>hfnuka. Kind of ^yanafa postnrtH Hraiva. Short.
Dhira. Wbe man. Hrkhyakapafa. BosonL
Dkvetja. Phallus. Hridayaroga, Pussion.
Dhji¥j:ibkigkata. FonxfiLt inuomissjon of the phalJuL HrtsH. To be pleued^
Dfitajamukha. Gians penis. ibhikfi. Woman of the third type.
Dhvanta. Gloom. ickchhu. One who is drairous of.
Dig. The numeral ten. Indranika, Kind of Uiiana posture.
DipfPgnL One in whom the di^tive power of the lagUA, Mark; gesture; Intention.
stomach is highly stinujlatcd. IrshypkulBa. Agitated due to jealousy*
Dirya. Divine; supernatural. jAgkArjA, Hip and the loins^ pudenda^ ymit—Comm
Dtirntu/u^ Arm-^pit,^ jpghermraudhra^ Yocii.
Dfaw. To get theor|;^5mi to ocae, Jpgham^iukhshA. Kind of embruce.
Drffvida. Province situated to the south of Karnataka. Jam, Knee.
Dmma. Tret JamkAtparo. Kind of Chitra Rala.
Dn/fam. Soon. Jaikgra. Liver
Diiftkhaihraya. Place of rtsorl In times of lUffiailty or Jati. Type of man or wooian.such as Shosha, cic.
unluimpmess. Jatabhoga. One who has experienced sexual pleasure.
Dwipa, The mtmeriil seven.
JaianTtArakHL One in whorn love u engendered-
Drtpikpro. Same as Kunkara^ Jrimbk. To yawn.
D^tradomada. Ichor of an elephant. JrfmbkakA. Kind of Vrfom posturCi
Dritala. Kind of Cfdira Raia,
JrimiikttfL Kind of Uittma j^ostum.
 GLOSSARY 135
J}ntiadanaht^ Bluing fixe^ KfftakriT4L Giving a blow in the ^rasrifaka way with
JfammiL FcveriiEi woman, the sound \
Jyotlsh, Splendour; tdul^oe. Kata. Bitter,
Kaurma. Kind of Uttana posture.
Kathaknttipa. Ifatr an ihe head, Mftk Love-spoit.
Knthitp^ha. firaid of tuir. Khinuiabhrtika, Kind of tocth^mark.
Kixktna. <Lcrt'o) quarrel—Gooim, KhitravegQ^ One havuig excessive libido.
KakQlai^fa. Otic having equal or even Kharea. ^ort,
Kiikska, The aides. Khfkikisagiurtana. One having indoloit gait.
KaktindarQ, Portioo Dear yaai—CoiOfn. Kkid. To be dejected,
To ^Dow; toexp^enec^ Kitava. Rogue.
Kalajuaiu^ lgnorani;:e ^ proper behaviour ai Iho time Khnia. Fatigued.
of Sexual congt^. Klf^kirma. One that brings pain or dispondency In
Kalq/mna. Ignonioce or tnobUity to know the time of its wake.
sexual congfeu. Ktiba* Eunuch.
Katazha, Pitchef. KokMchprwUa, K iud of leeUmnarkf
Katiia. Held, gmspcd--Camm. Kopazhila. IiriUitjng*
Kalhtifti, River. Koiha. Bud.
Kamafam. Yoni. Aoi/urAr. Province of the Koshala around Ayodhya.
Afl of Love. K&wa. Hollow.
KivnakQiara, Impassioned; sexually excited. Ifrumu. Process.
Kamarupa. Present Assam. Krid, To indulge in sexual congnsa*
^omorhffrrnr. The Science of Love. Krimf. Minute geim*
Kumatftpatra. Yoni; mons venertSv Krishffa. Park,
Xmwrafi. Mucous discharge due lo orgiism. K/it^odhn^^ Mechanical sexual aid; object resem¬
Kambftkmfhi. Woman having a gtaceful neck. bling the phallus,
Kamangitar Gesture of Love^ Kritdkaiihirar Person feiguing to be asleep.
KaminL Beloved; woman. Kritpt. Nail-mark; tmrk—Comm.
Khmiikala. Volupluousncas. Krvra^ Hard—COmm.
A^cuhuw. ForesL JOtoifigvuidh/. Having acid snwlL
Kancki. Wnisi'baml^ Kjkarfjfta. Tiickl mg of mucotts discharge.
Kaitdara. Cave. Kshoti. Breakdown or discontinuntioD—Comm.
Kandarptifala. Mucous discharge due to orgasm.^ Kskiprakula. One who requires LitiJe time (for sexua-
Kaitdarpari iithi The rourtocnlh. satlsfection).
Kathikara. Neck. Kzhlfwtlra. Kind of embrace.
KiimiutL Itching sensai ion. KjfUHrvhaskakfta. Branch of a tree.
KiiuJcana. Wristlet. Kikmaffth. Ground.
Karjfho. Nock. W»JL
Kanthakifjifa. Sound made by a womaxi nt the of fymbhin. ElcphanL
sexual congress—Comnu Kaitcbfta. Curling.
KuphaprukriiL Phlegmatic. Kurmoiktra. One whose bdly Is like Uiai of a icutoise*
XqpL Monkey. Ajrri^ib. Qxriosity.
Kiipih. Tawny* Xurakr^tt, Lotus,
Jfqpofff* Chocks
Kitr^ftifiiJana^carrrm* Ntih and tceth-mafks. iMgfuibftiik. One who caU little.
Kfir^famukha. Edge of huger tuU. Ijdish. To mark, observe—Comm.
Arrmrodki. Finger. (Nail—Cdmrn.}, Lakits, Foithend.
Karikarakrkh* Manipulation of the vulvll by keeping Lafmika. K ind of embrace^
the hni ihiee hufera like proboscis of an dephaut Laliia. Graceful.
(Ysshodhara). Lofawhitaka. Kind of cmbracc-
Karsk)ni. Thinness. lnya. Posture for sexual congress.
Ktirkazhya, Hardness; sternness. Ukk. To scratch,
Karpaitya, Miserliness. Esesifous of; food of.
Xai‘ifufya. Blackness. Levne. Hair-
KarlarL Kind of TadirT/io'm vogue in the south.
Mado^jofcatL One whose gait rcsembld that of an
Kiishayo. Astringent
Kathofachetkift. One whose acts arc tinged with elephant in rut,
Jifuftomigamanack^ta. Qiiods,
cmdty.
 136 ratirahasya
Mucous discharge Foiknlng NML Navel.
Madanafaya, Yool Nabhtmuktr Poctioo round aboui yoni—Comm.
Modanamlm^ Mticous disdiajBc foUowins cr;9&sm. NabkSiala. Ponksn bekw navcL
MadanifrwiafrwtL Odc having iht quoUly of cxcdliog Nttra. The numeral eighth
in ihe Battle of Love. Najaro. L One nccoitipliihcd in the Art of Love and
MaJanasadana. Yooi. Itvitig kviahly in urban am.
ModiMayutUha. Sexual congress. 2, Kind of Utiaom postuie.
Mddhii. Honey. Notaraka. Kind of Uttaita pOStUftc.
Madhara, Sweet. NakkoHka. Naihmark.
Madhya. I* One haviitg middlLaj; sexual ui^e. Naad, To adore.
2. WiUat SoFiiianakha. One whose niik dance as if (making
Madkyama. Middling. nail^niarks),
htadhyadijha. Province which had ihe Himalayea on Nariksia phah. Coconut,
the north, Ftaya^ on the eastp ibe Vindhya on the Narmagathihl Sweet and loving talk.
south, Vinashana on the wi^L Nasapuia- NostriL
Mahadhama. The lowest. Nasika. Nose.
M<dJa^ MjtlTcw of bones and flesh. Navanita. Buiicr.
MakMka. Honey. Nayona. Tbc numeral Iwdl
Maiava. EYoviitcc of the htalavAs (Purva MaJava— NftrUr Eye.
Conun.>. Nibidaiamam. Closely; Ujdiliy*
Mn//jNf. Dirty; wicked. bfkka. Sexital congress wherein the size of the male
Jt/onor^n^ Love. organ U smoJIer than Ibnt of tbc womaji.
Mmasfmira, Controlled by the mlrKL Ni^ad. To describe.
Manda. L One haviitg little lexuiJ urge; Nihi{ditnva. State of helplcssrsess.
Z Dulloid. bUmdaka. Kind of kiss,
Martdadhi. DutlanL AVVrow, Deep—Comnx
Mamkdaka. NflU-ouirk.
Nimnakakska. One whose ano-pltx are hollow^
Mammah* Bow of tcelhrmarks named ManL Wntfadrik. One haviog eyes like iotuies..
Moithtk Proud woman. bUromskaya. Unrclcnling,
Mofwdir/ia. Dignihcd. b^ffekkata. Being without scratches.
Manmalha. Love,
Nidui&a^ Prohibition.
Manmatha^ara. YonL
Mihthura. Cruel; hard-hHrietL
ManmaihaMiaira, Pan of Yoiit abounding in A/a&uhL NUrnnba. Postenort: buttocks.
Fas.
NUandxidkya, Woman having bUfgiitg postetiors.
Martmaikakafa. Art of Love.
JVjvL Knol of the lower giument.
Martahharaiiihi^ Tbc ihinoenth,
ttivishtii. Squeesed-^ouun.
Manmta. Fleshy. Nritya, Dancing.
Manirar Charm; sped; fonntili sacred to a deity,
AforAnron L Kind of >ljfOua |>osiure. Foda. Foot^
2. Kind of Utioaa postuneu Fadapaiif. FaUing gl the feet (of the hekwed to pro-
^farma. Ddicaie Or vulnerable pan of the body, pilklc her).
Mtiira. The vowels (sixteen).
Fodmastma. Kind of Vttana posture.
May'urapadaka, Kind of nail-marlL
Padmini. First type of woman.
Mikma. Closing (of eyes). Fakdia. I. Wing*
Machakaada, Root of plantain 0%
2. Fonruiht,
Mokana. Sexual tonpess.
Fokskmuht. One having long and beautiful eyelashes.
Mrid. To manipulate with hand as if kneading- Faiata. Fksh.
Mriduthava. Slate of getting orgasm.
Pank&fasana. Kind of C/rmna posture.
hfrigodrish. One having eyes like those of a d«r. Pani. Hand,
Mudka. IgnoTunt,
Pigeon*
Mudrabhattgakrida. Cau^ a woman to get orgasm. PangkaioisQ, Act of fitting tbc phallus tightly into the
Makida, fiud.
yonL
Mukalikrita^ Oosed (eyes).
Parihasi$, Joke—Comm.
Mftrehckkana. Stale of extrtnie lassitude helplessness, Pariktna. Short; stunted—Comm*
physical inactivity due to culminaiiofl of sexual Pmirmka. Size; depth.
pleasure.
Farinijfjbha. Embrace.
Mwrdha. Head.
Fariiah. Sideward.
Musksi. Fist, flstmg (kind of Tadoim).
Parivartisa. JCiod of VHtma posture*
 GLOSSARY 137
Parivorfonako. Kind of Tirysg posture. Ra}ahansL Female swan,
Fa^huchtshiUa. Act of an ammal. Rajt. Row»
P<JtQ}anta. Edge of a roof. Rajha* Lotus*
Potkya. Conducive to vtnHc, iEoj^m. One who ia much attached lo a person.
Payamp^yM. Ktulng continuousty—Comm. Ao/ti. To delight, epjoy seiuial congress, elc.
Fkpkbija* Semen. Rimma. Lover, husband.
Pti^pa^ha. Kind of C///dJu posture. Rax. To eat, taste,
PhutkntQr Kind of Viruta^ RaxabhokU. One having voice rambling ihai of a
Fid. To squeeze. donkey.
Pidano. Pressing (inside ihe Yoni wiLh the pbEdlus). Rar To ultcr inarticulate sounds or words con*
Kind of embraccp kiss. Uttimdi posture. tinuousJy.
Firm, Fkshy. Ratahava. Baitte of Lovcu
Fin^alakski. Woman with ULv^ny eyes. Raiqiatar Mucous discharge due to or^asnii
Pizkun^i, Caluminatinig; cmel Ratalaa. Expert in the Ait of Lovt:.
Pita. Yellow* RaiariL One who ia afhkted by emtstaat sexual con-.
P/r/oAr. Bilious wofnaop gness,
Fracharya. Coticetion. Ratayuddha. Battle Of Love,
Frtxdipakaipa. Like a lamp. RaiL Sesual love,
Fraghhofa, Upper or outer part. Rulit&fata. VolupluousnK.
Fftthiira. Blow, Ratipara. VolupluDus.
Framonahhetia. Diffcreiicc in size. Raitjatita. Mucous dlscborge due to orgasm.
Franayayklki, Lovv^porU Raiixtddht. Cousummaiioa of love.
FrmtQ. Comer; end* RnUtmim. Art Of LdVe.
Prap^^ha, Phenomenon: apfcoiBnce. Aniorsava. F^lival of Love (Sexual congros).
Praxhtaya, Docility; obedience—^Conum. Rayixmikhya. The numeral twelve.
Frasritoka. Kind of Todoiw. Rfkha. Kind of nail-nuiik.
Prdircmju. Vinyma—Comm. R^utana. One having the body straight.
Spread: oocupaiion. iWju. The numeral slat.
Ftasibui^, To arouse paasioc; to eseite sexunUy, Riiimma. Bathing on the Iasi day (fourth) of men¬
Fraiibadha. Kind of kiss. struation.
Fraripa. Cross, muffry, noiwBopmting, tmrespoiuive. Madaaa. Kind of Viiaia. *
Fraiyoyatiha, Arising out of eofihdence. Radm. Anger.
Praudha. t. Heavy nod foroeful—Conun.
2. Woman who h above liiiny yean of age Sachitdima. Slanting position.
but below fifty-five years, Sadhyaxa. Fear,
FritYohrianL Kind of teetb-mark. Sadrixkya. Siimlarity.
Pravasana. Joujwy; remainini away from home- Sak^axaxmya. Natural charactedstics*
Comm. Sairibha. Kind of Vyanaxa Rata.
Frayaga, SeauaJ conjrEsa. Sakhalam. Sportingly.
Ptayajanar Aiml Sakia. Deeply aitaehed to a person.
FrtJdtha. KItkI of Uitma postum. Satttam. Gimeefuliy.
FfwidcHotita^ Kind ol Farmkayita. 54»rKf. Even.
Pre>'ai/. Beloved. SamaiSitka. Long]—Comm*
Frishat. Drop of water. Samamaddha. One having tymmetrkal (round—
Ffiyapfmanar One who is deeply uiuicbed to the dear Comm.) head.
one. Smtiam/a. Sexual congress in whkh both the parties
PriyokiL One wIkisc Speech is pleasing. have oqualiLy in lize^ duration and LibldD.
Faya. Betel-nut. Samatala^ Kind of Tadana.
Pataka. HorripUation, Samanyahita. Conciliatory words^
Purachpli, Woman of low morals. Saa^hrita. Being engaged in or prepared for.
Furandhri. Woman. Saatdamxka. 1. Keepingoite bent over another stJidlar
Fta^iinchaxidra. Saitdi which abounds in mucous. limb of the other penon—Comm.
Paraaiithi. The last day of the bright half of a monUu ^ Kind of J^arurAay/fo—Comm.
Samghataka. L Fosture vdth woman astride and matt
Jtathgra. Sharp edge of a tooth. supine;
Pagiduitakala. Time of orgasm when mucous dis- 1. Wenon indul^fig in oral congress
chai:ge begira to OoWh with another man supine to the op-^
RidaihiiktiQ. Remaming in the bouse. po«iic direction, at the same time
 138 katirahasya
{while indulstng in one Siiojdiikha, Pomted,
CsmuTL R. ft. 1041). Siikrita, I, Shrkks, unmiis, etc,, <hie lo pain.
Samkufpa, Will; volition; menyd ncsohe, X Kind of ykmtOu
SaMkafa, Mixture, Skat$(ffmpaday^fctti. Kind of Uri4M posture.
Samkirna. Mixed, Skhai, To be loosened ; to remain Laaettve-^Tomm,
Samkranta. Kind of kiss. To be tuulked of a thing CTipP*^i^- falter; lose
Sampid, To squeeze. eouiage; hinch.
Sampida, Pressing with force. Smamgrihe^ Yoai,
Somprayofa. Sexual congress. Smprambti. Mucous disdiarfc due to orgnsin-
Sampuia. Kindofluss. Smoranaraiha. Kind of mul-cnailr*
Sampulaka. Kind of C/rfoitta posture, SmararoM. Mucous dhchatgc doc to lyrgaun.
Samiar^, Coniact, Sfnatavnkam, Yoai.
Stmshfka. Ernbnicc. Smaraymtiwitffit Sexual congress.
Samudga. Kind of Tiryi^ Akr/n. Sphata. Largc^
Samunttaia^ Erect, Snigdha. Sm>Dolli and listening,
yomroA. To shuopoo.
SnightSmirisk. Soft and gl htenmi.
Srnnya, Equalitx (in nature, $Ue, dunuion, libido, eic.)« Spkd^. TheJoiiif.
Samyanma. Kind of Unana pgotnre^ Spkulfipfn, Spark of lire,
Samyamim. Fnessod together. SphttrUp, Kind of km.
Smtdrp. Crewing etose.
Sfitishlaka. Kind of emhraetH
Sartgamavidh,. Sexual congress. Srani. To fall down,
Sofo. Qutntessenee.
Stahidmiu. Inactivity (iexcial)*
ScHta. Kind of l/rinmi posture. St^xnti^ Brmut
Laughingly,
Startifa. Kind of Ffrjr/n,
Satmya. Characteristic.
StanopQirta. Slope of the bx^it^
Satt^iko. One in whom &ittm qwtlity predominatea. Sr^diUii. Stake; post; pUe:,
.SawdiMvt. Fragrance.
Sthiia. Standing rofm of sexual congress.
l^UikhsmngQ. Monkey,
Sdiula. Ccrpuleot.
Shankkini. Third type of woman.
Sfrtrpfya, Province situated to the wen of Vajrxvtmta.
Sh^nalh. Slowly,
Sidrihaio, Minute.
Sht^sha, Oath.
^uAramarff. Delicto.
5Aartf. The numeml hve,
SuMra. Charming.
SHaska, Hrst type of man.
SuratuioinpQra. Voluptuous,
Shuthuphita. Kind of nail-niafk,
SarafUTnfeii. Mucous discharge due to orgaiai^
SheahdQoh. Upward niii! do^nwani mavoneats of
Sutviapayat. Muomis discha^dueioorgaM*
Ammga in the limbs of A wooian during the fort*
Srobkma, Piycholofka] and other charactciisljcs.
nighla of the month.
Sradu^ Tasteful.
Shiiskikaro. Rays of the moon,
^roMd. Vocal music--Cipmin.
ShoMthabok. Pure; dean.
^vnrwbhurL Personmt experience.
^Aowh. Kind of Vyanaia
Srqp. Toslo^p
Shilpavkbd. Art of iculpiure, etc
Sjofld, To drip; to tridde.
Skirmda. Hair.
Syaitdo, Tiicklmg (of muoousdtKharg^
Shifodkarpi, Bock of the nock.
SkitamshtqHsh. Moonstone^
TadSonci. SadUtic act.
Shlikdikaram. Expanding; cnlarjpng. Tafpa, Bed.
Skiisktushpkha^ Hand whose hngen arc amooth and
Tambuh, Bctd leaf,
hdd together,
TanvL Woman with thin limbi,
S^mnrAru. Beard; moustache,
ronr^. Transiioiy; evanescent.
Shfiphala, BiWa fniiu
^fonls Buttocks. Taro&awuiar, One whose mind h not steady-
rojnoitri'. Dimple.
Shiikki. Bright half of a month.
TanmI. Woman above sixteen ywi of age and bck>w
SfwlaMia. Kind of Vti^ma posture,
thirty years of age.
ShuTjm^ >^nower,
Totrvff. Qoimcsscncc.
Sk^as, To breathe.
Tila. Sciamujn,
Shvmiip, Kind of Mhrra; bieathing fast* Tihtamktkt. Kind of embmoe.
Sk^gi^ Bright half of a mondt.
Tltnlfa^ Darkness
SidiDa. Womai] who is completely wea over.
Tliyag. I, Kind of kiss.
SidcDU, Sexual conquest*
2. Kind of Tkyag posting*
 GLOSSARY 139
Titkf. The ntimciml ^(Iccn, Ventuh. Round.
Toya, Water. KtuA>a. Ooc who is enslaved.
Trapa. Shame; boshfulnc^. y^^- Sexual urge; libido.
Tript. To be {dually) salisfifid^ ytnudaritaka. Kind of posture.
Triptipifga. (Sexual) satisTactioa. To entwine,
Tndtchka. Small, ytshriia* Kind of Uf/am posture.
Tvnya. Fourth yiihmh. To excel; to surpass.
Viddftaka, Kind of embrace.
Uchduwata, Sexual coogress wherein the kik, duration Vidhif^^. Desirous of doing a thing.
ond libido o( the male is more ilian that of tl^ feenalc. ykAuta. Removed—Comm.
Uchchhuna^ Raided up. Vifhatik^. Kind of kiss.
l/chehhunaka. Kind ^ teethnnark. KtfiurtpAa, ExrKKition.
Udira, Belly.
yiHal. To make a person to be sexually esdiecL
Uiibhiigrfa. Kind of UriMo postune:^ Vikacha. Blossoming.
Kind of embrace. Vikakr, Ignorant—Comm,
Udwta, Dejection. PMA. To scratch with naik,
Odr^fna. Dejected. Vdlna. One who has got the orgasm.
Udwff. To shrink from. yintardim. Kind of Asifi^ iUiia.
UJfhJta. Devoid of. yitnrfd. To manipulate inside the yoni with mcchaniCBl
Umnotia. One who is sexually eiccitedi organ^ (Forcdiidy move it to and froh
Ufmtska, Opening wide. Kw, Indian lute.
lfp^t^^hau The sexuaJ orgsuii y^arifa. Reverse^
Ifrdd/mjgamami, Upward rise. yitakm. Defected; dislntcresicd.
Urdiffiragataruyupa. Kind of posture. yitya. Strength—CcKiun.
tJraksphurarta. Kind of £^^1*0^0 posture. FuAmnAnan. Accusation ; false charge.
Ui^ddhYdiah. Upward or forward. Vishayagfoirm. Collection of objects of sense. (SAofidb.
Utkala. Present Orissa. etc)
Utkrifa^ Kind of K/m/o, FTiAf jrAo. Outstanding difference
Uipa!<idala. Kind of nail^nark. F/iAroTnAAdafct, Happiness—Comm,
Uiphufiaka, Kind of UtfanQ posture. VtshrishfL Ehtifuse flow of mimnis.
Uitama. ExcellenL K/spAwr. To burst.
Uifamika. Supine. yiiiara, Dctad.
l/tfapfa, Wann. yita. Paramour—ComiTi+
Utiam. Kind of kiss. yitahjfa. Unashamed^
Uitariya. Upper garment {Otffiani), VMia. Kept apart; wide open.
yiiddha^ Woman who js above ifty4ve years of
Vada. $of% whispering of love—Conmu age.
Vadttra. Woman of the second type. yrikihadhitudha. Kind of embrace.
Vadenrako. Kind of UiisHo posture. Man of the second type^
yaifofya. DismtenBtedness. yritia* Sexual congress—Comm.
yaJMvikL That (love) which arises from possession yy<ibhichara. loequaHty—Comm.
of certain objects such as garlands, etc.—Cdnuiu yyakula, Agiiatcd.
yakjhai. Bosom. Vyidotit, I, Desinnii of—Cdoim.
Votifa, Wrinkled, 2 . Kind of Esia^
yalidbha. Lover; husband. yporiJifa. Suggesied.
y/illiwMrarm, Entwining of a cie^»er. Vyi^^aitaya. Ojre: ai^enec.
yama. Left.
yampa. Pn»enl Bengal. Konw. Feciod of three hours.
ywHfvaja. ProviD«x to the cast of Konkaiw. KosA/r. Woman; wife.
KffrncAiYidrjAo. One who looks here and there—Coiiuru Yaga. The numeral four*
yamkjJttwa. Upper Part of thigh—Comm. Ypgma. The second TTiAf,
ydrddhishifuta. Quality of growing. Yugmapada. Kind of Aii£»r posture.
 BIBLIOGRAPHY
Readers dfrsiring to study iDdLan Erotics art advised to see the Bibliography appended to
Vatsyayana’s Kama Smm. LransJated into Englbh by the author and published by D, B. Taraporevala
Sons & Co, Private Lid., Bombay.

EPICS AND FLfItANAS

Mafiabharafa. Rari Rahasya.
Shrlmad Bltagavafa. ShringarattumJarL

AYURVEDA, TANTRA, ETC PRAXIRNA

Haramekhala. Amarushafaka.
Uddishttlantra* Charucharya^
Kalavitasa.
KAVYA (tNCLUDlNG POETItS) Ni ti vakyamrita.
£X:avo/i. Samaya/ttafrlka^
Gitagovinda*
JGraiarjmiya. ENGLtSU, GUJARATI, KINDI, ETC-
Kumarasambhava, ChakJadar—Social Life in Ancient India^
Meghadiiia, Dastiir—L Useful Ptmts of India md Fakisfan,
Naishadhachartia^ 2. Medicinal Ftanfs of India and Pakis^
Rogkiivamsha, son.
Shishupalaradija, y, Everybcnl/s Guide r& Ayurvedic
Medicine.
NAT AKA (INCLUDINQ DRAMATICS) Dc—Ancient Indian JBroricJ & Erotic Literature.
Abhijnanashaktintaia, ^^^—JainaStihitya-no-Smkshiptaltihasa {Guj J
Mahtimadhava, EHis-^tiidies in the Psychology of Sex. 2 Vob.
Natyashastra, Code—Studies in Indian Literary Ilistorynr
yikramorvashiya, 3 Vols.
Keith—History of Sanskrit Literature.
Mujumdnr—U The CbssicoJ Age.
PRAnANDHA
2* The Age of Imperial Kanasy.
Brikaikatltarttanjan,
MufishJ^—The Ctory that hw Gurjoradesha^
Dashakumarachari tra,
Vols. 1, rrr.
KadQjTdmrL
Premi—Jaina Sahitya aur Itihasa (H)^
VasamdaUa,
Ray—History of Hindu Chemistry. 2 Vols^
Yoskastjhka,
Schmidt—Rati Rahasyo (Eng. Trans.)
Watt—Dictionary of Economic Products of
KAMASHASTRA India. 10 Vols.
Anangttfmga. Wintemilz—History of Indian Literature.
Kama Sutra. 3 Vbk.
Kandarpachiidaman f.
Kuiianimara. gazetteers, JOURNALS, ETC,
ffagarasarvasva. Bombay Gazetteer, VoL 1,2 Pts.
Paachasayaka. Jaina Sahitya Samshodhaka. 2 Vols,

140
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