The Ananga Ranga
Chapter VIII - Treating of External Enjoyments
By "external enjoyments" are meant the processes which should always precede internal enjoyment or coition.
The wise have said that before congress, we must develop the desire of the weaker sex through certain preliminaries,
which are many and various; such as the various embraces and kisses; the Nakhadana, or unguiculations;
the Dashanas, or morsications; the Keshagrahanas, or manipulating the hair, and other amorous blandishments.
These affect the senses and divert the mind from coyness and coldness.
After which tricks and toyings, the lover will proceed to take possession of the place.
There are eight Alinganas, or modes of embracing which will here be enumerated and carefully described:
1. Vrikshadhirudha is the embrace which simulates the climbing of a tree, and it is done as follows:
When the husband stands up the wife should place one foot upon his foot, and raise the other leg
to the height of his thigh, against which she presses it.
Then encircling his waist with her arms, even as a man prepares to swarm up a palm-trunks,
she holds and presses him forcibly, bends her body over his, and kisses him as if sucking the water of life.
2. Tila-Tandula, the embrace which represents the mixture of sesamum-seed with husked rice (Tandul).
The man and woman, standing in front of each other, should fold each other to the bosom by closely encircling the waist.
Then taking care to remain still, and by no means to move, they should approach the Linga to the Yoni,
both being veiled by the dress, and avoid interrupting the contact for some time.
3. Lalatika, so called because forehead (lalata) touches forehead.
In this position great endearment is shown by the close pressure of arms round the waist,
both still standing upright, and by the contact of brow, cheek, and eyes, of mouth, breasts, and stomach.
4. Jaghan-alingana, meaning "hips, loins, and thighs."
In this embrace the husband sits upon the carpet and the wife upon his thighs,
embracing and kissing him with fond affection.
In returning her fondling, her Lungaden, or petticoats, are raised, so that her Lungi,
or under-garments, may come in contact with his clothes, and her hair is thrown into the dishevelled state,
symbolizing passion; or the husband, for variety's sake, may sit upon the wife's lap.
5. Viddhaka, when the nipples touch the opposite body.
The husband sits still, closing his eyes, and the wife, placing herself close to him,
should pass her right arm over his shoulder and apply her bosom to his, pressing him forcibly,
whilst he returns her embrace with equal warmth.
6. Urupagudha, so called from the use of the thighs.
In this embrace both stand up, passing their arms round each other,
and the husband places his wife's legs between his own so that the inside of his thighs may come in contact
with the outside of hers. As in all cases, kissing must be kept up from time to time.
This is a process peculiar to those who are greatly enamoured of each other.
7. Dughdanir-alingana, or the "milk and water embrace," also called "Kshiranira," with the same signification.
In this mode the husband lies upon the bed, resting on one side, right or left;
the wife throws herself down near him with her face to his, and closely embraces him,
the members and limbs of both touching, and entangled, as it were, with the corresponding parts of the other.
And thus they should remain until desire is thoroughly aroused in both.
8. Valleri-vreshtita, or "embracing as the creeper twines about the tree", is performed as follows:
Whilst both are standing upright, the wife clings to her husband's waist, and passes her leg around his thigh,
kissing him repeatedly and softly until he draws in his breath like one suffering from the cold.
In fact, she must endeavour to imitate the vine enfolding the tree which supports it.
Here end the embracements; they should be closely studied,
followed up by proper intelligence of the various modes of kisses, which must accompany and conclude the Alinganas.
And understand at once that there are seven places highly proper for osculation, in fact, where all the world kisses.
These are: First, the lower lip.
Second, both the eyes.
Third, both the cheeks.
Fourth, the head.
Fifth, the mouth.
Sixth, both breasts; and seventh, the shoulders.
It is true that the people of certain countries have other places, which they think proper to kiss;
for instance, the voluptuaries of Satadesha have adopted the following formula:
But this is far from being customary with the men of our country or of the world in general.
Furthermore, there are ten different kinds of kisses, each of which has its own and proper name,
and these will be described in due order.
1. Mlita-kissing, which means "mishrita", mixing or reconciling.
If the wife be angry, no matter however little, she will not kiss the face of her husband;
the latter then should forcibly fix his lips upon hers and keep both mouths united till her ill-temper passes away.
2. Sphurita-kissing, which is connected with twitching and vellication.
The wife should approach her mouth to that of her husband, who then kisses her lower lip,
whilst she draws it aways, jerking, as it were, without any return of osculation.
3. Ghatika, or neck-nape kissing, a term frequently used by the poets.
This is done by the wife, who, excited with passion, covers her husband's eyes with her hands,
and closing her own eyes, thrusts her tongue into his mouth, moving it to and fro with a motion so pleasant
and slow that it at once suggests another and higher form of enjoyment.
4. Tiryak, or oblique kissing.
In this form the husband, standing behind or at the side of his wife, places his hand beneath her chin,
catches hold of it and raises it, until he has made her face look up to the sky;
then he takes her lower lip beneath his teeth, gently biting and chewing it.
5. Uttaroshtha, or "upper-lip kissing".
When the wife is full of desire, she should take her husband's lower lip between her teeth,
chewing and biting it gently; whilst he does the same to her upper lip.
In this way both excite themselves to the height of passion.
6. Pindita, or "lump-kissing".
The wife takes hold of her husband's lips with her fingers, passes her tongue over them and bites them.
7. Samputa, or "casket-kissing".
In this form the husband kisses the inside mouth of his wife, whilst she does the same to him.
8. Hanuvatra-kissing.
In this mode the kiss should not be given at once, but begin with moving the lips towards one another in an irritating way,
with freaks, pranks, and frolics.
After toying together for some time, the mouths should be advanced, and the kiss exchanged.
9. Pratibodha, or "awakening kiss".
When the husband, who has been absent for some time, returns home and finds his wife sleeping upon the carpet
in a solitary bedroom, he fixes his lips upon hers, gradually increasing the pressure until such time as she awakes.
This is by far the most agreeable form of osculation, and it leaves the most pleasant of memories.
10. Samaushtha-kissing.
This is done by the wife taking the mouth and lips of the husband into hers, pressing them with her tongue,
and dancing about him as she does so.
Here end the sundry forms of kisses.
And now must be described the various ways of Nakhadana, that is, of titillating and scratching with the nails.
As it will not be understood what places are properest for this kind of dalliance,
it should be explained as a preliminary that there are eleven parts upon which pressure may be exerted
with more or less force.
These are: First, the neck.
Second, the hands.
Third, both thighs.
Fourth, both breasts.
Fifth, the back.
Sixth, the sides.
Seventh, both axillæ.
Eighth, the whole chest or bosom.
Ninth, both hips.
Tenth, the Mons Veneris and all the parts about the Yoni; and, eleventh, both the checks.
Furthermore, it is necessary to learn the times and seasons when this style of manipulation is advisable.
These are: First, when there is anger in the mind of the woman.
Second, at the time of first enjoying her or of taking her virginity.
Third, when going to separate for a short time.
Fourth, when about journeying to a foreign and distant country.
Fifth, when a great pecuniary loss has been sustained.
Sixth, when excited with desire of congress; and, seventh, at the season of Virati, that is to say, when there is no Rati,
or furor venereus. At such times the nails should always be applied to the proper places.
The nails, when in good condition and properest, for use, are without spots and lines,
clean, bright, convex, hard, and unbroken.
Wise men have given in the Shastras these six qualities of the nails.
There are seven different ways of applying the nails:
1. Churit-nakhadana is setting the nails in such a way upon the cheeks, lower lip and breasts,
without leaving any marks, but causing horripilation, till the woman's body-hair bristles up,
and a shudder passes all over the limbs.
2. Ardhachandra-nakhadana is effected by impressing with the nails upon the neck and breasts a curved mark,
which resembles a half-moon (Ardhachandra).
3. Mandalaka is applying the nails to the face for some time, and indeed until a sign is left upon it.
4. Tarunabhava or Rekha (a line) is the name given by men conversant with the Kamashastra to nail-marks
longer than two or three finger-breadths on the woman's head, thighs and breasts.
5. The Mayurapada ("peacock's foot" or claw) is made by placing the thumb upon the nipple,
and the four fingers upon the breast adjacent, at the same time pressing the nails till the mark resembles the trail
of the peacock, which he leaves when walking upon mud.
6. Shasha-pluta, or the "hooping of a hair", is the mark made upon the darker part of the breast
when no other portion is affected.
7. Anvartha-nakhadana is a name applied to the three deep marks or scratches made by the nails
of the first three fingers on the back, the breasts and the parts about the Yoni.
This Nakhadana or unguiculation is highly proper when going abroad to a distant country,
as it serves for a keep-sake and a token of remembrance.
The voluptuary, by applying the nails as above directed with love and affection, and driven wild by the fury of passion,
affords the greatest comfort to the sexual desires of the woman;
in fact, there is nothing, perhaps, which is more delightful to both husband and wife
than the skilful use of unguiculation.
Furthermore, it is advisable to master the proper mode of morsication or biting.
It is said by persons who are absorbed in the study of sexual intercourse,
that the teeth should be used to the same places where the nails are applied with the exception,
however, of the eyes, the upper lip, and the tongue.
Moreover, the teeth should be pressed until such time as the woman begins to exclaim,
Hu! Hu! after which enough has been done.
The teeth to be preferred in the husband, are those whose colour is somewhat rosy, and not of a dead white;
which are bright and clean, strong, pointed and short, and which form close and regular rows.
On the other hand, those are bad which are dingy and unclean, narrow, long and projecting forward,
as though they would leave the mouth.
Like the unguiculations, there are seven different Dashanas or ways of applying the teeth,
which may be remembered by the following Mandalaka or oblong formula:
1. Gudhaka-dashana, or "secret biting", is applying the teeth only to the inner or red part of the woman's lip,
leaving no outside mark so as to be seen by the world.
2. Uchun-dashana, the wise tell us, is the word applied to biting any part of a woman's lips or cheeks.
3. Pravalamani-dashana, or "coral biting", is that wonderful union of the man's tooth and the woman's lips,
which converts desire into a burning flame; it cannot be described, and is to be accomplished only by long experience,
not by the short practice of a few days.
4. Bindu-dashana ("dot" or "drop-biting") is the mark left by the husband's two front teeth upon the woman's lower lip,
or upon the place where the Tilla or brow-mark is worn.
5. Bindu-mala (a "rosary", or "row of dots" or "drops"), is the same as the preceding,
except that the front teeth are applied, so as to form a regular line of marks.
6. Khandabhrak is the duster or multitude of impressions made by the prints of the husband's teeth
upon the brow and cheek, the neck and breast of the wife.
If disposed over the body like the Mandalaka, or Dashanagramandal, the mouth-shaped oblong traced above,
it will greatly add to her beauty.
7. Kolacharcha is the name given by the wise to the deep and lasting marks of his teeth which the husband,
in the heat of passion, and in the grief of departure when going to a foreign land, leaves upon the body of his wife.
After his disappearance, she will look at them, and will frequently remember him with yearning heart.
So far for the styles of morsication.
And now it is advisable to study the different fashions of Keshagrahana, or manipulating the hair,
which, upon a woman's head, should be soft, close, thick, black, and wavy, not curled, nor straight.
One of the best ways of kindling hot desire in a woman is, at the time of rising, softly to hold and handle the hair,
according to the manner of doing so laid down in the Kamashastra.
The Keshagrahana are of four kinds:
1. Samahastakakeshagrahana, or "holding the hair with both hands",
is when the husband encloses it between his two palms behind his wife's head, at the same time kissing her lower lip.
2. Tarangarangakeshagrahana, or "kissing the hair in wavy (or sinuous) fashion",
is when the husband draws his wife towards him by the back hair, and kisses her at the same time.
3. Bhujangavallika, or the "dragon's turn", is when the husband, excited by the approaching prospect of sexual congress,
amorously seizes the hind knot of his wife's hair, at the same time closely embracing her.
This is done in a standing position, and the legs should be crossed with one another.
It is one of the most exciting of all toyings.
4. Kamavatansakeshagrahana, or "holding the crest hair of love", is when, during the act of copulation,
the husband holds with both hands his wife's hair above her ears, whilst she does the same thing to him,
and both exchange frequent kisses upon the mouth.
Such, then, are the external enjoyments described in the due order according to which they ought to be practised.
Those only are mentioned which are well known to, and are highly appreciated by the world.
There are many others by no means so popular, and these are omitted, lest this treatise become an unwieldy size.
The following may, however, be mentioned:
The blandishments of love are a manner of battle, in which the stronger wins the day.
And in order to assist us in the struggle, there are two forms of attack, known as Karatadana and Sitkreutoddesha.
Karatadana, as the word denotes, are soft tappings and pattings with the hand, by the husband or the wife,
upon certain members of each other's persons.
And in this process there are four divisions, which the man applies to the woman:
1. Prasritahasta, or patting with the open palm.
2. Uttanyahasta, the same reversed; done with the back of the hand.
3. Mushti, or striking gently with the lower or fleshy part of the closed hand; softly hammering, as it were.
4. Sampatahasta, or patting with the inner part of the hand, which is slightly hollowed for the purpose, like the cobra's hood.
And here may be specified the several members that should thus be operated upon.
First, the flesh below the ribs, with No. 1.
Second the Mons Veneris and vicinity of the Yoni; also with No. 1.
Third, the bosom and breasts, with No. 2.
Fourth, the back and hip, with No. 3.
Fifth, the head with No. 4.
There are also four corresponding divisions of the practices used by the woman to the man:
1. Santanika, a name given by learned men to the act of a wife gently patting with the closed fist her husband's breast
when the two have become one, so as to increase his pleasure.
2. Pataka is when the wife, also during congress, pats her husband gently with the open hand.
3. Bindumala is the name given only by men when the wife, at the time of coition,
fillips her husband's body with the thumbs only.
4. Kundala is the name given by the older poets when the wife, during copulation,
fillips her husband's body with thumb and fore-finger, not with the rest of the hand.
And now of the Sitkriti, or inarticulate sound produced by drawing in the breath between the closed teeth;
these are the peculiar privilege and prerogative of women, and the wise divide them into five kinds:
1. Hinkriti is the deep and grave sound, like "Hun! Hun! Hun!", or "Hin! Hin! Hin!"
produced in the nose and mouth with the slightest use of the former member.
2. Stanita is the low rumbling, like distant thunder, expressed by "Ha! Ha!" or by "Han! Han! Han!"
produced by the throat without the concurrence of the nasal muscles.
3. Sitkriti is the expiration or emission of breath, like the hissing of a serpent,
expressed by "Shan! Shan!" or "Shish! Shish!" and produced only in the mouth.
4. Utkriti is the cracking sound, resembling the splitting of a bamboo, expressed by "T'hat! t'hat!"
and formed by applying the tongue-tip to the palate, and by moving it as rapidly as possible,
at the same time pronouncing the interjection.
5. Bhavakriti is a rattling sound, like the fall of heavy rain-drops, expressed by "T'hap! t'hap!"
produced by the lips: but it can be produced only at the time of congress.
These several Sitkritis in the woman's mouth at the moment of enjoyment,
will respectively resemble the cry of the quail (Lava), of the Indian cuckoo (Kokila),
of the spotted-necked pigeon (Kapota), of the Hansa-goose and of the peacock.
The sounds should especially be produced when the husband kisses, bites, and chews his wife's lower lip;
and the sweetness of the utterance greatly adds to enjoyment, and promotes the congress of the sexual act.
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