365bet娱乐

Congress or coition is the real and final goal of love. The lovers feel pleasure by lying in various postures, Different kinds of postures will help the lovers to increase sexual pleasure, to prevent physical injuries and to control conception. Vatsyayana has mentioned many types of postures which are useful to the lovers. He advises the females how to act in low-congress and in high congress. According to his opinion Deer-woman has the following three ways of lying down, viz., the widely opened position; the yawning position and the position of the wife of Indra. Kamasutra further adds that there are four positions for Elephant-lady which are useful 1 to her in lowest congress and they are as follows. Clasping position; pressing position; twining position and 2 the mare's position. Vatsyayana adds some more postures 3 which are described by Suvarnanabha. The Kamasutra 0 1. utphullakam vijrmbhitaka mindranikam ceti tritayam mrgyah prayena | ka . sa. 2.6.7. 2. nicataraste'pi samputakam piditakam vaistitakam vadavakamiti hastinyah | ka . su . 2.6.14. 3. bhugnakam - jrmbhitakam - utpiditakam ardhapiditakam venudaritakam - sala citakam karkatakam - piditakam padmasana - paravrttakam | ka . su . 2.6.22.31.

T describes many types of congress which are popular as 4 citrarata. All erotic writers accept these and expand the number of positions. 5 Kokkoka depicts thirtyone types of postures. Kalyanamalla divides postures of congress mainly into five divisions. Further he mentions twelve types of 6 supine positions, three types of side positions, ten types of sitting positions, three types of standing positions 7 and five types of bowing positions. The Pancasayaka describes seven types of supine positions, three types of side-positions, two types of sitting positions, two types of standing positions and many bowing positions.8 The Nagarasarvasva depicts twenty one types of supine postures, two kinds of sitting postures, two types of bowing positions and seven types of standing positions. 9 - 4. sthitarata avalambitaka dhainukam - saunam - aineyam chagalam - gardabhakrantam - marjaralalitakam vyaghravaskandanam gajopamarditan - varahadhustakam turagadhirudhakakam - samghatakam - gauyadhikam adhoratam | ka . su . 2.6. 35.46. 5. ratirahasya 10.13.41. 6. uttanakam tiryagatha sitakhyam sthitam tathaiva natakam ratajnaih | pancaprakaram suratam pradistam 7. anamgaramga 10.4.30. 8. pancasayaka 5.7.22. 9. nagarasarvasva 28.32. anamga 鈥� 10,3. 177

In this way erotic writers have described the postures in various manners. But the Sanskrit poets have not described these postures directly. The reason may be that they gave more importance to the art of love than to the act of love itself. Moreover the description of coition comes under pornography. The poets who were cultured and dignified felt that the depiction of cohabitation is indelicate. Therefore we do not get many examples of the description of congress. But some poets have dared to sketch the coition in an indirect manner. 179 Anantabhatta mentions the serpent congress when Ulupi, having attained Arjuna, who was like God of Love, 10 tries to give him full pleasure by serpent position. Bharavi describes that the beds, on which faded flowers were fallen, on which different types of flowers were scattered, show the different types of postures experienced 11 by passionate ladies. Here the red paint which appears 10. prahrsya hrdi tatraisa manusyam phaninam rataih | samtarpayitumareme kandarpasamamarjunam || cam . bha . 3.23. 11. divya strinam sacaranaladharana ragayate nipatitapuspapidah | pidabhasah kusumacitah sasam samsatyasminturatavisesam sayyah || kirata . 5.23. i

179 i on the bed shows that, that particular lady has been used in 'the congress of cow.' Otherwise she might have acted like a male in congress. Therefore the red paint which was applied to the feet appeared on the bed. The poet Amaruka states- "Here dyed with betel juice, there soiled by the stains of black sandal paste, here covered with powder of camphor and there marked with foot prints in lac-dye, with extensive wove-like cruplings and with scattered flowers, the bed-sheet proclaims the enjoyment of the woman in various modes. Vemabhupala clearly shows that the ephithets of the bed indicate 'congress of cat', 'congress of elephant' and congress of cow' respectively. In the Naisadhlyacarita, the swan, messenger of Nala speaks to Damayanti thus- "Damayanti, let both of you, young as you are, accept in 12 Here the commentator the garden of pleasure the shower of flowers, released ever and anon by the breezes delighted at the various ,,13 modes of your erotic wrestling, rich in postures. 12. kvacittambulaktah kvacidagurupadkaikamalinah kvaciccurnodagari kvacidapi ca salaktakapadah | valibhagabhogeralaka patitaih sirnakusumaih striyananavastham prathayati ratam pracchadapatah | amaru . 65. | 13. bandhadayananaratamallayuddha pramoditaih kelivane marubhih | prasuna vrstim punaruktamuktam praticchatam bhaimi yuvam yuvanau || naisa . 3.124.

1 180 Vatsyayana states- "When the legs (of female) are contracted and thus held by the lover before his bosom it is called 'pressed position. 14 This type of posture has been described by the poet Jayadeva. Radha having seen Krsna says angrily thus- "O Rogue, I feel more shame than pain having seen your heart which is red due to the Alaktaka of your beloved's feet. ,15 " Here the pcet has shown that Krsna has experienced the pressed position; hence his chest is full of the red colour which applied there when his beloved placed her feet on it. Thus we see that some poets have hinted at some positions indirectly. Knowledge of these postures is essential not only to Therefore it is saidthe poets but also to a lay-man. "Those people are called as animals, who have wine, but not the appreciation of the taste, who have knowledge without studying the Gita, who feel pleasure without the 16 knowledge of sexology. Samaraja Diksit describes the 14. tatkuncitavutpiditakam | ka . su . 2.6.24. 15. tavedam pasyantyah prasaradanuragam bahiriva priyapadalaktacchuritamarunadhotihrdayam | mamadya prakhyata pranayabharabhona kittava tvadalokah sokadapi kimapi lajjam janayati || gita . 8.2. pr . 121. 16. draksyam rasajnatahinam jnanam gitamatim vina | kamasastram vina bhogo yesam te pavo matah || nagara, pr . 117.

181 love-sport as a kind of sacrifice in his work RatikallolinI. Thus the Samvesana prakarana has helped lot to the poets in describing the coition. 17 1 17. manthah sisanah smaro smaro'gnirbhagamaraniraho romapamktistu darbhah homadravyam hi reto manitamapi ca vagrtvijavandayugmam | etatkamagnihotram vidhivihitamaho salasanno bhajante dhiktandhiktandhiktaniti vadati sakhe varayosinmrdamgah || nagara . - pr . 116. 1