Kama Sutra of Vatsyayana Free Version from 4 Freedoms Tantra 5 adds that he wrote these things from the opinions of Gonikaputra and Nandikeshwara, both of whom are mentioned by Vatsyayana, but their works are not now extant. It is difficult to give any approximate idea as to the year in which the work was composed. It is only to be. Kama Sutra Two folios from a palm leaf manuscript of the Kamasutra text (Sanskrit, Devanagari script). Author Vatsyayana Mallanaga Original title कामसूत्र Translator Many Country India Language Sanskrit Subject The art of living well, the nature of love, finding a life partner, maintaining one's love life, and other aspects pertaining to pleasure-oriented faculties of human. Our form has a limit of 15 files. Have more files? Please send The Kama Sutra: The Bible Of Sex Positions Vatsyayana them directly to us at email protected If you are having trouble uploading a file, try converting it to a PDF and trying again. Jul 10, 2014 In the present publication it is proposed to give a complete translation of what is considered the standard work on love in Sanscrit literature, and which is called the 'Vatsyayana Kama Sutra,' or Aphorisms on Love, by Vatsyayana. While the introduction will bear with the evidence concerning the date of the writing, and the commentaries written. Positions you will recall that some of the positions shown seem to be anatomically impossible. This is because a drawing can show people doing easily what no ordinary human being could ever actually do. When selecting sexual positions to try, don’t bother unless you see the position illustrated with a photograph. All of our sexual positions.
Richard Francis Burton
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The Kama Sutra of Vatsyayana by Richard Francis Burton is an edition of the ancient Indian text on sexuality and emotional needs. Vatsayana was an ancient Indian philosopher who lived during the second or third century. Although it is often thought of as a sex manual, it is much more, with guides on living well, the nature of love, and finding a partner. Indeed, Vatsyayana says himself: 'This work is not to be used merely as an instrument for satisfying our desires'. Burton did not in fact translate the Kama Sutra - it was translated by the Indian scholar Bhagwan Lal Indraji. It was edited by Burton to suit prevailing British attitudes to sex, but was still banned in England and the United States until 1962. Other criticisms levelled at Burton's translation is that instead of using English words for the sex organs, he uses the words 'lingam' and 'yoni', despite those words not appearing in the original work. This was seen as an attempt to distance them and make them 'other', rather than about English people's sexual organs. He also removes the agency of women, and where in the original, women's words are direct quotes, in the Burton translation, women's words are removed and put into the passive state (i.e., A woman saying 'Stop!' becomes 'She continually utters words expressive of prohibition'). Despite all this, it has been such an influential translation that even modern editions in the Hindi language are re-translations of the Burton version. Full chapter list.
№ 12 in Anne Haight's List of Banned Books.
This book has 137 pages in the PDF version, and was originally published in 1883.
Production notes: This ebook of The Kama Sutra of Vatsyayana was published by Global Grey on the 17th March 2018, and updated on the 20th July 2021. The artwork used for the cover is 'A Rose' by Ignacio Pinazo Camarlench.
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Excerpt from 'The Kama Sutra of Vatsyayana'
In the literature of all countries there will be found a certain number of works treating especially of love. Everywhere the subject is dealt with differently, and from various points of view. In the present publication it is proposed to give a complete translation of what is considered the standard work on love in Sanscrit literature, and which is called the 'Vatsyayana Kama Sutra,' or Aphorisms on Love, by Vatsyayana.
While the introduction will bear with the evidence concerning the date of the writing, and the commentaries written upon it, the chapters following the introduction will give a translation of the work itself. It is, however, advisable to furnish here a brief analysis of works of the same nature, prepared by authors who lived and wrote years after Vatsya had passed away, but who still considered him as a great authority, and always quoted him as the chief guide to Hindoo erotic literature.
Besides the treatise of Vatsyayana the following works on the same subject are procurable in India:—
The Ratirahasya, or secrets of love.
The Panchasakya, or the five arrows.
The Smara Pradipa, or the light of love.
The Ratimanjari, or the garland of love.
The Rasmanjari, or the sprout of love.
The Anunga Runga, or the stage of love; also called Kamaledhiplava, or a boat in the ocean of love.
The author of the 'Secrets of Love' (No. 1) was a poet named Kukkoka. He composed his work to please one Venudutta, who was perhaps a king. When writing his own name at the end of each chapter he calls himself 'Siddha patiya pandita,' i.e., an ingenious man among learned men. The work was translated into Hindi years ago, and in this the author's name was written as Koka. And as the same name crept into all the translations into other languages in India, the book became generally known, and the subject was popularly called Koka Shastra, or doctrines of Koka, which is identical with the Kama Shastra, or doctrines of love, and the words Koka Shastra and Kama Shastra are used indiscriminately.
The work contains nearly eight hundred verses, and is divided into ten chapters, which are called called Pachivedas. Some of the things treated of in this work are not to be found in the Vatsyayana, such as the four classes of women, viz., the Padmini, Chitrini, Shankini and Hastini, as also the enumeration of the days and hours on which the women of the different classes become subject to love. The author adds that he wrote these things from the opinions of Gonikaputra and Nandikeshwara, both of whom are mentioned by Vatsyayana, but their works are not now extant. It is difficult to give any approximate idea as to the year in which the work was composed. It is only to be presumed that it was written after that of Vatsyayana, and previous to the other works on this subject that are still extant. Vatsyayana gives the names of ten authors on the subject, all of whose works he had consulted, but none of which are extant, and does not mention this one. This would tend to show that Kukkoka wrote after Vatsya, otherwise Vatsya would assuredly have mentioned him as an author in this branch of literature along with the others.
The author of the 'Five Arrows' (No. 2 in the list) was one Jyotirisha. He is called the chief ornament of poets, the treasure of the sixty-four arts, and the best teacher of the rules of music. He says that he composed the work after reflecting on the aphorisms of love as revealed by the gods, and studying the opinions of Gonikaputra, Muladeva, Babhravya, Ramtideva, Nundikeshwara and Kshemandra. It is impossible to say whether he had perused all the works of these authors, or had only heard about them; anyhow, none of them appear to be in existence now. This work contains nearly six hundred verses, and is divided into five chapters, called Sayakas or Arrows.
The author of the 'Light of Love' (No. 3) was the poet Gunakara, the son of Vechapati. The work contains four hundred verses, and gives only a short account of the doctrines of love, dealing more with other matters.
'The Garland of Love' (No. 4) is the work of the famous poet Jayadeva, who said about himself that he is a writer on all subjects. This treatise is, however, very short, containing only one hundred and twenty-five verses.
The author of the 'Sprout of Love' (No. 5) was a poet called Bhanudatta. It appears from the last verse of the manuscript that he was a resident of the province of Tirhoot, the son of a Brahman named Ganeshwar, who was also a poet. The work, written in Sanscrit, gives the descriptions of different classes of men and women, their classes being made out from their age, description, conduct, etc. It contains three chapters, and its date is not known, and cannot be ascertained.
'The Stage of Love' (No. 6) was composed by the poet Kullianmull, for the amusement of Ladkhan, the son of Ahmed Lodi, the same Ladkhan being in some places spoken of as Ladana Mull, and in others as Ladanaballa. He is supposed to have been a relation or connection of the house of Lodi, which reigned in Hindostan from a.d. 1450-1526. The work would, therefore, have been written in the fifteenth or sixteenth century. It contains ten chapters, and has been translated into English, but only six copies were printed for private circulation. This is supposed to be the latest of the Sanscrit works on the subject, and the ideas in it were evidently taken from previous writings of the same nature.
The contents of these works are in themselves a literary curiosity. There are to be found both in Sanscrit poetry and in the Sanscrit drama a certain amount of poetical sentiment and romance, which have, in every country and in every language, thrown an immortal halo round the subject. But here it is treated in a plain, simple, matter of fact sort of way. Men and women are divided into classes and divisions in the same way that Buffon and other writers on natural history have classified and divided the animal world. As Venus was represented by the Greeks to stand forth as the type of the beauty of woman, so the Hindoos describe the Padmini or Lotus woman as the type of most perfect feminine excellence, as follows:
She in whom the following signs and symptoms appear is called a Padmini. Her face is pleasing as the full moon; her body, well clothed with flesh, is soft as the Shiras or mustard flower, her skin is fine, tender and fair as the yellow lotus, never dark coloured. Her eyes are bright and beautiful as the orbs of the fawn, well cut, and with reddish corners. Her bosom is hard, full and high; she has a good neck; her nose is straight and lovely, and three folds or wrinkles cross her middle—about the umbilical region. Her yoni resembles the opening lotus bud, and her love seed (Kama salila) is perfumed like the lily that has newly burst. She walks with swan-like gait, and her voice is low and musical as the note of the Kokila bird, she delights in white raiments, in fine jewels, and in rich dresses. She eats little, sleeps lightly, and being as respectful and religious as she is clever and courteous, she is ever anxious to worship the gods, and to enjoy the conversation of Brahmans. Such, then, is the Padmini or Lotus woman.
Detailed descriptions then follow of the Chitrini or Art woman; the Shankhini or Conch woman, and the Hastini or Elephant woman, their days of enjoyment, their various seats of passion, the manner in which they should be manipulated and treated in sexual intercourse, along with the characteristics of the men and women of the various countries in Hindostan. The details are so numerous, and the subjects so seriously dealt with, and at such length, that neither time nor space will permit of their being given here.
Chapter List for 'The Kama Sutra of Vatsyayana'
Preface
Introduction
PART 1. THE VATSYAYANA SUTRA
Introductory Preface
Chapter 2. On The Acquisition Of Dharma, Artha And Kama
Chapter 3. On The Arts And Sciences To Be Studied
Chapter 4. The Life Of A Citizen
Chapter 5. About The Kinds Of Women Resorted To By The Citizens…
PART 2. OF SEXUAL UNION
Chapter 1. Kinds Of Sexual Union
Chapter 2. Of The Embrace
Chapter 3. On Kissing
Chapter 4. On Pressing, Or Marking, Or Scratching With The Nails
Chapter 5. On Biting, And The Means To Be Employed…
Chapter 6. Of The Different Ways Of Lying Down, And Various Kinds Of Congress
Chapter 7. Of The Various Modes Of Striking…
Chapter 8. About Women Acting The Part Of A Man; And Of The Work Of A Man
Chapter 9. Of The Auparishtaka Or Mouth Congress
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Chapter 10. Of The Way How To Begin And How To End The Congress
PART 3. ABOUT THE ACQUISITION OF A WIFE
Chapter 1. On Marriage
Chapter 2. Of Creating Confidence In The Girl
Chapter 3. On Courtship, And The Manifestation Of The Feelings…
Chapter 4. About Things To Be Done Only By The Man…
Chapter 5. On Certain Forms Of Marriage
PART 4. ABOUT A WIFE
Chapter 1. On The Manner Of Living Of A Virtuous Woman…
Chapter 2. On The Conduct Of The Elder Wife Towards The Other Wives…
PART 5. ABOUT THE WIVES OF OTHER MEN
Chapter 1. Of The Characteristics Of Men And Women…
Chapter 2. About Making Acquaintance With The Woman, And Of The Efforts To Gain Her Over
Chapter 3. Examination Of The State Of A Woman's Mind
Chapter 4. About The Business Of A Go-Between
Chapter 5. About The Love Of Persons In Authority For The Wives Of Other Men
Chapter 6. About The Women Of The Royal Harem…
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PART 6. ABOUT COURTESANS
Introductory Remarks
Chapter 1. Of The Causes Of A Courtesan Resorting To Men…
Chapter 2. Of Living Like A Wife
Chapter 3. Of The Means Of Getting Money…
Chapter 4. About Re-Union With A Former Lover
Chapter 5. Of Different Kinds Of Gain
Chapter 6. Of Gains And Losses; Attendant Gains And Losses…
PART 7. ABOUT THE MEANS OF ATTRACTING OTHERS TO YOURSELF
Chapter 1. On Personal Adornment; On Subjugating The Hearts Of Others…
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Chapter 2. Of The Ways Of Exciting Desire, And Miscellaneous Experiments, And Recipes
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Concluding Remarks