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The third adhikarana which is named Kanya-samprayuktakadhikarana is one of the important chapters in the Kamasutra. It deals with the qualities and the behaviour of a girl. In the first adhyaya Vatsyayana has given many characteristics of a girl, who is fit for marriage. The girl depicted by the Kamasutra is a model for all the It poets. Hence, Dandin, Kalidasa, sriharsa etc. described their heroines according to the model of Vatsyayana. has been noted that Vatsyayana has belief in love at first sight. The opinion of Kamasutra is accepted by most of M the poets and elaborated in various manners. Kamasutra lauds the marriage which takes place between equals. Hence the poets have tried their level best to picture such brides and bridegrooms. 159. K. R. Pisharoti: Sex life in Ancient India, B.O.R.I. Silver Jubilee Volume, 1943, p.337.

The second adhyaya is very important. We see here the keen observation of Vatsyayana. According to the Kamasutra, women are like flowers; hence they should be handled in a moderate way. Otherwise they will nate every man and discard sex-sport. Every hero in literature takes the maximum care about the heroines, when he is creating confidence in her mind, Vatsyayana instructs a male about his duties which should be done after the marriage ceremony. He instructs the bridegroom step by step which will help him in gaining over the love of his beloved. All the heroes of the dramas or kavyas obey the rules of Kamasutra at every step. Vatsyayana has also given some suggestions to a virgin about her behaviour. He opines that a virgin should not exhibit her love; she should express her bashfulness; fear etc. to her lover at the first meet. She should obstruct her lover's activity. __ It, prohibit it in a dignified style. She should object The poets have drawn their heroines in the same manner. acts according to the advice of Kamasutra. Every heroine 285 The third adhyaya instructs about the gestures of a girl, who wants to express her love to her lover. Vatsyayana has suggested various ways to show their love. Most of

286 those are mentioned by the poets in their works. Sakuntala Malavika, Sarmistha, Malayavati, etc. exhibit their love in the presence of their lovers according to the words of Kamasutra. $ The fourth adhyaya contains the plans which are useful to a man to attract and to enjoy his beloved who is expressing her love too. The Kamasutra narrates various plans, some of which are used by the poets. Vatsyayana remarks that a girl should be inactive in the first meeting, and she should not allow her lover to enjoy her body unless full confidence has arisen. Hence some heroines allow their lovers external coition only. When the lover proceeds, they prohibit it according to the advice of Vatsyayana. The fifth and the last adhyaya gives some forms of marriage. Though the Kamasutra describes many types of marriage, it praises the Gandharva type of marriage, as it is easy and as it increases the love between the male and female. Hence the poets have depicted the lovemarriages in their works: Thus this adhikarana has influenced the Sanskrit literature to a great extent. The poets have followed

the sutras of love, when they are depicting the Mugdha type of heroine. Most of the dramatists have arranged some scenes to illustrate the instruction of the Kamasutra. Bhavabhuti has openly declared that his drama Malati-madhava is an illustration of the Kamasutra. Kalidasa, Sriharsa, Sudraka, Rajasekhara etc. have made plot-construction of their dramas to display their knowledge of sexology. Especially, all the dramatists are influenced by this adhikarana, while they sketch the heroine and the first meeting of the lovers. Vatsyayana has influenced all the poets. In this way 287 1