Vatsyayana - The Kama Sutra (eng.).pdf

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KAMASUTRA.PDF
KAMASUTRA
1
KAMASUTRA
(The Art of making Love)
English translation of the Ancient Indian Classic.
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KAMASUTRA
2
Part 1
Preface
Introduction
Chapter 1
Chapter 2
Chapter 3
Chapter 4
Chapter 5
Part 2
Chapter 1
Chapter 2
Chapter 3
Chapter 4
Chapter 5
Chapter 6
Chapter 7
Chapter 8
Chapter 9
Chapter 10
Part 3
Chapter 1
Chapter 2
Chapter 3
Chapter 4
Chapter 5
Part 4
Chapter 1
Chapter 2
Part 5
Chapter 1
Chapter 2
Chapter 3
Chapter 4
Chapter 5
Chapter 6
Part 6
Introduction
Chapter 1
Chapter 2
Chapter 3
Chapter 4
Chapter 5
Chapter 6
Part 7
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KAMASUTRA
3
Chapter 1
Chapter 2
Chapter 3
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KAMASUTRA
4
PREFACE
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 deal 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
Vatsyayana had passed away, but who still considered him as the 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' 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 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, 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
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KAMASUTRA
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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' 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' 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' 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' was a poet called Bhanudatta. It appears from the last
verse of the manuscript that he was a resident of the province of Tirhoot, and 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' 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:
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