Ratirahasya: being the Ratirahasya of Kokkoka and other medieval Indian writings on love by Alex There's no description for this book yet. First Edition PRINTED IN INDIA The sale of this book is strictly restricted to members of the medical and legal professions, scholars and research students of . before parting, the object of the book, which opens with praises of Regarded in this light, the book becomes an ethnological treasure the Ratirahasya, the.
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Ratirahasya of Kokkoka English - Download as PDF File .pdf) or read online. Books. The Songs of Radha from the Gita Govinda-erotic poetry. Uploaded by. Rati Rahasya - Ebook download as PDF File .pdf) or read book online. Rati Rahasya. Ratirahasya - Download as PDF File .pdf), Text File .txt) or read online. Kokkoka describes himself in the book as siddha patiya pandita, i.e. "an ingenious.
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APA 6th ed. Citations are based on reference standards. However, formatting rules can vary widely between applications and fields of interest or study. The specific requirements or preferences of your reviewing publisher, classroom teacher, institution or organization should be applied. The E-mail Address es field is required. Please enter recipient e-mail address es.
The E-mail Address es you entered is are not in a valid format. Please re-enter recipient e-mail address es. You may send this item to up to five recipients. The name field is required. Please enter your name. There are sufficient number of manuscripts from different parts of the country for undertaking such an edition. The personality of the author of the Ratirahasya, no less than his name, is in- triguing. In the concluding verse, he tells us of his ancestry and we see here a few names, of which again nothing more is known.
None of these convey anything to us about the author and the place or school or anything else to which he belonged. The translator has done this to some extent in the Introduction here, as well as in his earher pubhcation, the Kama Sutras. Sometimes the attempt at such correlations or at seeking support from Kavyas may not be successful or based on a correct understanding of the Kavya, e.
It has often been observed by critics that Sanskrit technical treatises, and indeed all scientific or even aesthetic analyses in Sanskrit, are too full of classifica- tions and names. This could not be avoided; analysis or explanation is called vibhdga; break up is an integral part of clear understanding; the minute classi- fications are not to be taken as overdone, but as springing from the nature and substance of the subject that is examined. The charge cannot be laid that the wood has been lost sight of in the trees.
In the present subject, Kama Sastra, where the infinite variety of human nature is the very material of study, the study naturally takes the form of classifications and enumerations which are but names of the physical and psychological variations in men and women. The tabular presentations such as those given by me in the Srngdra- manjarl or by Dr. Upadhyaya in his earlier Kama Sutras and the Ratirahasya now published will be helpful in understanding the different, analyses of types of characters etc.
The glossary of technical terms with their meanings in English is another useful addition. University of Madras, Madras-5 V. Kokkoka and His Predecessors, 1 B. Classification of Men, 12 F. Classification of Women, 14 G. Erogenous Zones, 15 H. Classification According to Avastha or Age, 37 C. For Increasing the Flow of Semen, 89 C. Delaying the Flow of Semen, 90 D. Organic Improvement, 90 E. Removing Organic Defects of Women, 92 F. Recipes for Contraction and Enlarging the Yoni, 92 G.
Recipes for Depilation, 93 H. Recipes for Abortion, 94 I. Recipes for Pregnancy, 94 J. Recipes for the Prevention of Abortion, 94 K. Recipes for the Removal of Organic Pain, 95 M. Body Odour and Its Prevention, 96 P. Mouth Odour and Its Prevention, 97 Q. Beauty Aids for Women, 97 S. Recipes for Uplifting Sagging Breasts, 98 T. Recipes for Causing Impotence in a Man, 99 V. Recipes for Engendering Enmity, X. Recipes for Creating Friendship, Y. Classification of Women According to Jati, Etc.
Classification of Women According to Age, V. Erotic Zones, 1 18 Vlll. Two Illustrated Mss. Majmudar, M. Illustrating Chap.
Sculpture from the Sun temple at Konarak 25 A lyrical and graceful sculpture of a loving couple, from the Bharatji temple, Khajuraho 26 Embracing figures from the Devi Jagdamba temple, Khajuraho Between pages 40 and 41 27 The fond embrace.
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.
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 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 author adds that he wrote these things from the opinion of Gonikaputra and Nandikeshwara, both of whom are mentioned by Vatsyayana, but their works are not now extant.
In Indian history, the era of the scholar Emperor. Bhoja, has been aptly regarded as a most brilliant period in the history of Sanskrit literature. At this time, Panchala or Kanauj, ruled by Raja Bhoja was the most powerful principality.
In this abnormal state she entered the levee-hall of King Bhoja, to the wonder and scandal of the courtiers present. Un- abashed she declared that as she found no manly person among the crowd, she had felt no shame in appearing unclothed.
The king and his courtiers remained stunned and dumb-founded. Pandit Kokkoka who was attending on the monarch could not remain silent, he begged liis king s permission to teach the woman a lesson.
Then the virile Pandit inserted gold pins into her arms and legs, and brought her back before the king. In a chastened mood, she con- fessed her debacle and solemnly and decorously clothed and veiled herself. The king was naturally very much intrigued and anxious to know how the passion of this voluptuous woman was quenched.
He asked Kokkoka to relate the story of his conquest. The learned amorist composed the treatise Rati Rahasyam some time later for the edification of another prince Venudatta. Ray, m. It is the speciality of Indians that they attempted a scientific analysis of the art of courtship and love in all its aspects, and Kokkoka's work ably summarises the traditional material in easy-flowing and sweet Sanskrit verses.
The commentary of Kancinatha is both lucid and readable. The work will appeal not only to Sanskrit specialists, but also to a wide general public interested in the worldly aspect of ancient culture. It is very freely quoted in Indian literature. An English trans- lation of this work will be always appreciated. Bhatt, m. University, Baroda. Sadhu Ashram, Hoshiarpur. It is a very happy supplement to Kama Sutra of Vatsyayana. The work appears to have enjoyed popularity as well as authority around the eleventh century a.
Jhala, Professor of Sanskrit, St.
It is certainly older than A. In its 15 Chapters or verses, the author has proved himself to be a master poet handling his material with grace and ease. His verses are well-knit and are in long and short literary metres which fully exhibit his command over the language. Karambelkar, m.
Its edition by Dr. Upadhyaya will, I am sure, be as excellent as that of his Kamasutra. Mirashi, m. It also gives a vivid account of the social behaviour underlying one of the strongest stimuli of social dispositions.
The rel. The treatment from the beginning to the end throws a significant light on the psychology of sex and observable urges and reactions pertaining to this aspect of life. The book is of considerable importance for all those interested in the study of ancient Indian History, Culture and Society.
Biswa Nath Pr. For students of ancient Indian culture, this text is indispensable. Its translation into English will be a valuable contribution. I am glad to know that the translation of the text has been done by an expert like Dr. Sandesara, m. Its elegant diction and easy verse is perhaps easier to follow than the technical language of the Sutra.
I am glad to learn of your proposal to bring out an illus- trated edition of this beautiful work with Dr. I am sure it will receive a warm welcome not only in India but in the other countries of the world.
However, he has not merely compiled from different sources. He has woven the topics artistically and given them lucid treatment and elegant expression. The work sheds ample light on the social and cultural traits of young men and women in the different regions of ancient India. Shastrx, m. Director, B. The former is a complete work dealing with the whole science of love, whereas the latter deals with parti- cular aspects in more detail.
With his scientific thoroughness, discriminating analysis, practical wisdom and psycho- logical understanding, he Kokkoka admirably expounds the important topics of the arcana of love in elegant and lucid style. Not only he ably epitomizes the views of the earlier noteworthy eroticians like Vatsyayana, Nandikeshvara, Gonikaputra, Mahuka and Ravana but he also, sometimes, differs from them in a brilliant manner.
The prescription of different Mantras and rites of enticing women helps us to understand the Tantric practices as in vogue. The aphrodisiacs described in 1 30 stanzas in the last chapter reveal the pro- gress in Indian medicine. The author of this work is Kokkoka. Appalacharyulu, m. Principal, Government M. Sanskrit College, Vizianagram.
Gita Govinda. Kama Sutra. Rati Rahasya. Smaradipika by Rudra. Shringaradipika by Harihara. Shringaramanjari by Sk. Ali Akbar Shah. He claims to place before his readers the quintessence of all the writings on the subject that had preceded him. There are nine such references, of which four are not identified even by Kanchinatha and the fif'th is rather uncertainly mentioned.
The authors and their works referred to by Kokkoka, with their respective identities, are as follows: We shall now try to discover some facts about these authors and the works on Erotics referred to by Kokkoka.
In this context, the commentator Yashodhara tells us of the belief that it was while Mahadeva was engaged in his amorous dalliance with Uma lasting for a thousand divine years, that his attendant Nandi, waiting at the gate, composed the Kama Sutra. He also had many patrons who appreciated his pro- ficiency in the various arts. Mention may be made of a few of his pen-names: However, about his own attainments we do know a good deal.
He was adept in the art of enticing women and the very personification of chicanery. Crooks, cheats, miscreants and all kinds of rogues flocked to him for advice and guidance in their nefarious activities. His two special friends were Vipula and Achala, and his adviser was named Shasha or Shashi. He held court at night, usually brilliant with moonlight, attended by his followers, chief of whom was one named Kandali, and his friends like Shashi. While addressing these followers and admirers, he spoke from a resplendent dais.
Also, Muladeva has been immortalised in Sanskrit classical literature through these various references: Yashodhara in his commentary Jayamangala on these Sutras perhaps could not grasp the meaning of Mula and that is why he has not explained the asso- ciation of the name of Mula deva with these acts.
Bhanuchandra, the commentator, further informs us that he was the propounder of the Science of Thieving and his group consisted of Vipula and Achal and Shasha acted as an adviser. Shukasaptati also refers to Muladeva. Jyoti'risha a. Now let us consider if Muladeva wrote anything incorporating his teach- ings for the benefit of his own pupils and others interested in these topics. To begin with, it can be concluded that from the very nature of his activities he was well-known personally among courtesans.
Indeed, we have on record a state- ment by Yashodhara that two courtesans vied with each other for the affection of Muladeva. We can conjecture that he became deeply attached to one such courtesan named Gunapataka whom he instructed and who eventually emerged as an adept at his own Art. Muladeva titled one of his works after this courtesan, and it is possible that he did so to perpetuate his own attachment for her as also her life-long fidelity to him.
I have emboldened myself to put forth this theory of the authorship of Gunapataka on the strength of the arguments that follow: Ill, 42, Kathasaritsagara, Keith, A History of Sanskrit Literature, p. The work Uddisha Tantra, which was thoroughly studied by Kokkoka, is in exactly this form, and several later works are also found to emulate this dialogue form.
It must be stated that the work Gunapataka has no link with the work Guna Mala mentioned by Abhinavagupta a. As mentioned earlier, we have strong evidence in support of this presumption, and Kokkoka, the master of the Science of Erotics, relies a great deal on this work for the writing of his Rati Rahasya.
To prove the importance of Gunapataka to Kokkoka for the composition of his Rati Rahasya we may refer to Parichchheda 4, verses 3, 7, 25, of the Rati Rahasya which echo the earlier work. The same verses also occur in the commentary by Narayana Dikshit on Subandhu's Vasamdatta p. IV, 3, 7, 25; Gode, ibid.
Thus from these references, it will be seen that Muladeva, who was a notorious rogue, flourished in very early times, and that his work Gunapataka continued to influence several Sanskrit writers on the Science of Erotics and several commentators as well. Although the original manuscript of the work has not yet been traced, the hope remains that one day it may be discovered as a result of the researches by scholars, in the collections of Sanskrit manus- cripts. He has further shown that Vatsyayana has followed the method of Kautilya, and that Kalidasa was well acquainted with the Kama Sutra.
It includes recipes for preparations from quicksilver and other materials purporting to restore youthfulness, bestow longevity, invisibility, invulnerability and imparting other superhuman powers to mortals.
The Classical Age, p. Chakladar, Social Life in Ancient India, pp. The Age of Imperial Kanauj, p. History of Hindu Chemistry, ii, Sanskrit Texts, p. Unfortunately, the commentary on these verses is not available. The first chapter has still not been found; the others that are published deal mainly with ailments of animals and human beings together with their remedies. There are also a number of recipes for various types of incense, pei fumes, aphrodisiacs and for taming and seducing women.
Its author is named Ravana. Dharanivaraha in whose reign Mahuka wrote must hence be a different person. He might be a predecessor of Dharnivaraha of Wadhvan. We have only to study the last two chapters of Rati Rahasya to prove this point. One of them is referred to as Kadvaya spelt with two ks , by Raghavabhatta. Desai, Jaim Sahityano Samkshipta Itihasa, p. Trivedi, Introduction, p. R, According to one such legend, he was a Kashmiri Brahmin, well-versed not only in the Science of Erotics but in other occult sciences as well.
However, there is definite evidence to show that he wrote the Rati Rahasya Kamakelirahasya to please his protege Vainya v. Vaishya datta. Kokkoka wrote the Rati Rahasya to satisfy the curiosity of King Vainyadatta. We know from history that one Vainyadatta flourished in about a. His portrait on his gold coins is quite well known to numismatists. I have however no proof to show that the protege of Kokkoka and the Gupta King are one and the same. This is, in fact, what is advocated by the Science of Erotics to every man who studies and practises it.
To achieve this ambitious objective, Kokkoka made a thorough study of the works of his predecessors, both in the field of Erotics as well as in other ancillary topics. He contends therefore that Rati Rahasya is the quintessence of the wisdom of the sages who wrote about the Ars Amor is As regards the date of Rati Rahasya, it is now possible to conjecture the period within which it was written, with the help of two vastly differing composi- tions: The other author, Somadeva Suri, refers in his Nitivakyamrita to Koka and his prac- tices as Divakama.
Although the date of Nitivakyamrita has not yet been accurately ascertained, we know that Somadeva Suri wrote another work entitled Yashastilaka Champu which was definitely completed in Shaka , i.
We may con- clude, therefore, that Somadeva and Kokkoka were near contemporaries and that Kokkoka lived sometimes between a. A few examples are mentioned below; 0 Harihara about A. Hi Yashodhara a. Some ideas which he has put forth have been drawn from the works of Nandikeshvara, Gonikaputra, Gonardiya, Muladeva, and the work known as Guna- pataka — all of which are unpublished and comparatively little known.
Among the original topics which are discussed for the first time by Kokkoka are the following ones; a He classified women into four major categories — Padmini, Chitrini, Shankhini and Hastini — and tabulated their physical, psychological and sexual characteristics, along with the days and nights and Yamas thereof and postures favourable for each of them for the attainment of the highest conjugal happiness.
Shringararmnjari, Ed. Kokkoka himself acknowledges Vatsyayana as his source, but the details are glaringly absent from the Kama Sutra.
This he has based on the Gunapataka. For details, he has consulted Gunapataka. This in itself is no mean contribution, since these recipes are not to be found in the extant text of the Kama Sutra. This can be seen from the following tabulated statement: Five verses.
Mallinatha says it is from another work. Rati Rahasya to All found in R. One verse regarding Marjarikarana not found in R. Not found in R. It is in R. One verse. Parts composed in two verses, R. Words slightiv changed, R.
Some words changed and parts of some verses interchanged in R. Some w'ordings with different case ter- minations, R. Jyotirishvara omits any mention of the ayama of the Mriga type, but gives that of the Vrisha as nine angulas. Strangely enough, St.
Ali Akbar Shah also admits that he has followed the Vatsyayana school in his classification. To make these two fourfold classifications of men clear the following table will help to give a better picture: Padmini Shankhini Chitrini Hastini 11 P. Shashaka Mriga Vrisha Haya S. Jayadeva Same as S. Rudra Dr. Kavi who has tried to identify Bhadra as Muladeva, an established authority on the Science of Erotics. Datta is the same as Dattaka who wrote Vaishika.
Kuchimara is the author of Kuchimara Tantra and Panchala is the same as Babhravya. Quoted by Tripathi in his commentary on K. Shringaramanjari, p. Same as No. Akarshaka Bhoja explains: Attracts Shivarama in -do- Darpana explains: Chumbaka Desirous of con- tacting every part of the body.
Kisses lovingly. Dravaka Pleases with glances Melts even frigid women and satis- fies them. Bhramaka Pleases with speech. Is either well liked or hated. While attached to one woman decei- ves another.
It appears therefore that there were several different ways of classifying men, as the following table will show; Vatsyayana, Kokkoka, Padmashri, Kalyanamalla, etc.
Jyotirisha and others Harihara and others Subandhu and others Madhava and others Threefold classification. Fourfold classification of the first type. Fourfold classification of the second type. Fourfold classification of the third type. Fivefold classification. He is followed in this by his commentator Yashodhara.
Kokkoka, on the other hand, gives us a fourfold classification, although on another occasion he follows Gunapataka and mentions the threefold classifica- tion as Shalatha, Ghana or Dridha and Madhyama. Praudhadevaraya and Kalyanamalla also give descriptions of these types.
Tripathi, in his commentary, explains these four types. Padmashri gives us the threefold classification mentioned by Jayadeva, though later, Jayadeva has also mentioned a fourfold division. Oddly enough, Jyotirisha gives only three classifications and Praudhadevaraya follows him.
Rudra and Harihara follow Kokkoka for their classification but add the parinaha also. It would appear therefore that as in the case of men, several different classifications of women had been established. An original and interesting classification divides women into twenty types, according to Sattva. Jyotirisha has given four classi- fications, although the one named Preta which he includes, has not even been mentioned by Kokkoka or Bharata.
Praudhadevaraya appears to have followed Bharata to a great extent, but has included the Pishacha type mentioned by Kokkoka while omitting the Preta type mentioned by Jyotirisha. Kalyanamalla has followed Kokkoka closely. In the course of his researches, Charcot found zones of different orders: Among these centres are two varieties: Ellis, Psychology of Sex.
TIT, 2, pp. Moll has observed that stimulation of these areas gives rise directly or indirectly to voluptuous sensations. Hirschfeld has enumera- ted eight such spots, four with the growth of hair such as beard, chin, armpit and the pubis and four with a mucous surface mouth, nipples, genital region and the anal region.
He considers as secondary zones the palms, soles, finger tips, toes, knees, elbows and sacral region. Ellis has suggested the addition of ears to this list. Coming now to Indian erotic literature, we find that Vatsyayana has men- tioned certain parts of the human body as fit for kissing, for making nail and teeth marks, for Karikarakrida, for thumping, for pressing with the palms and so on.
For instance, some parts like the breasts require squeezing, others like the buttocks require kneading, cheeks respond to pinching, lips are fit for kissing, and so on. All these devices may be used with greater satisfaction on certain auspicious days of the lunar month, and elaborate details are given by Kokkoka, Jyotirisha, Kalyanamalla, and other writers on this subject.
Wth century. The small temple of Khajuraho. Sculptured panels showing mithuna figures from the Kandariya Mahadev temple, Khajuraho.
A loving couple.
Detail from the south side of the Parasvanatha temple, Khajuraho. Wth cen- tury. Copyright, Department of Archaeology. Government of India. Detail oj a god and goddess in an amorous pose from the Parasvanatha temple, Khajuraho.
Shama Kilanjar. Exquisite sculpture of a couple from the Lingaraja temple, Bhubaneshwar. Close-up of the previous sculpture, showing the expressive features of the man and woman.
From the Lingaraja temple, Bhubaneshwar.
Graceful couples, with meaningful smiles and beautiful figures from the Raja Rani temple, Bhubaneshwar. I2th century. Department of Archaeology, Govern- ment of India. An interesting point which may be noted here is that all the texts on Erotics refer to Kamasthanas erogenous centres and Anangasthiti their love potential belonging exclusively to women. None of these works refers to these in men.
However, it becomes evident from a study of these works that some kisses, embra- ces, nail and teeth marks are to be done by women on men, and we may conclude that Kamasthanas and Anangasthiti exist in men too, and that the use of them is reciprocal. Perhaps the explanation lies in the fact that the extant manuscripts are corrupt, and that the portions dealing with Kamasthanas and Anangasthiti in men have been tampered with. Perhaps the other authors on Erotics missed mention of this in the Kama Sutra.
Mallinatha, the commentator, knew about the Kamasthanas and Anangasthiti in men since he has commented positively on the subject. As for Kokkoka, he tells us that he gathered his material from the works of Nandikeshwara, Goniputraka, etc. In classical literature, we find the theory of touch and its effect clearly represented.
Pururava's attraction for Urvashi was heightened when his shoulder touched hers. Parvati experienced horripilation and Shiva perspired at the fingers when Shiva clasped her palm. We find it mentioned in several works. However, before these are des- cribed, it will be interesting to know its development in the West. It is an accepted fact that all men and women are odorous, and that clean habits open out the skin pores and help to exude these odours.
Odour varies among individuals and among tribes. For instance, Monbuttu women have a strong gorgonzola smell, the Australian aborigines have a smell of phosphoric character, the Chinese have a musty odour and many Europeans have a strong and pungent smell.
It is quite true that the white races smell less strongly than most of the dark races.
Odour appears to be related to both pigmentation and to the degree of hair growth. We may now examine the many references to body-odour and its effect in Indian literature.
Act I. Ellis, ibid, I — 2, iii, pp. The story tells us that in trying to trace the source of the fragrance that assailed his nostrils he discovered the maiden who was indeed the cause of it. Another story in the Mahabharata tells us how a boon was granted to Matsyagandha, the daughter of Girika and Vasu. The maiden had been cursed and became a fish in the waters of the Yamuna river, until one day she was accosted by Parashara from whom she sought the boon of fragrance.
Thereupon Parashara impregnated her with fragrance through a physical union with her and she became known as Gandhavati the sweet smelling maiden ever after.
The Mahabharata also relates how when Draupadi was bom, her own lotus- smell spread to a distance of one krosha. Lotus- smell is again referred to several times in the Shrimad Bhagavata.
Uddhava refers to heavenly maidens with the lotus-smell. Brahmahatya in the shape of an old hag was seen by Indra follow- ing him and emitting a strong fish-odour. However, except for the Padmini the lotus-smelling and the Matsyagandha fish-smelling , the other types of body-odour have not been described in Indian literature, though the smell of mucous discharge has been mentioned.
He has similarly described the mucous odours of Harini, the Vadava and the Hastini. Shrimad Bhagavata, , 48; ; May the God of Love, who vanquished the three worlds with the help of woman and whose life was many-splendoured, grant you all your wishes.
He is the anchorage of pleasure-loving men, and the vanquisher of Tripura Shiva for although Shiva burnt him to ashes with the fire from his eye, he forcibly and instantly transformed Shiva into the form of half-man and half-woman. Benediction too for the lofty and unexceptionable accoutrements of that unassailable God. He has bees as his retinue, koels cuckoos to sing his panegyrics, the Moon as his royal canopy, the fragrant breeze from the mount Malaya to serve as his frenzied elephant-mount, the delicate limbs of a woman to act as his bowstring and her coquettish glances as his arrows.
Love is born in the minds of men and comes to tyrannise the whole world. Oh learned men, pray listen closely to this literary masterpiece which, like a lamp, illumines the Art of Love. It is composed by the poet Kokkoka to satisfy the curiosity of King Vainyadatta.
Keeping my mind firmly on the subject, I have endeavoured to glean the essence of learning by referring to the ancient sages again and again, and milking the cow of learning and churning the milk of their wisdom. This quintes- sence of learning is delicious and wholesome, and fit to be exercised in the enjoy- ment of youthful beauty.
Indeed, even the Gods have accepted this. So you, distinguished men of learning, may also enjoy its benefits. The object of the Art of Love is, in the first place, to win the affection of an unattached woman; having won it, then to enjoy it, and having enjoyed it, to perpetuate and enhance its enjoyment.
In the lives of men, so transitory and evanescent that they are like water-drops falling off the eaves of houses, only one essential happiness in its fullest and complete form is considered worthwhile, and that is the fulfilment of the human senses. Which fool can ignore the subtleties and mysteries of the Art of Love and yet enjoy this happiness, which is akin to the highest happiness resulting from the reaUzation of the Absolute? What can a monkey do with a coconut when he finds one?
Nothing, unless he knows how to break it and discover its kernel.
Also, I have found that even if the meaning of one book is clear enough for normal intelligence, it is made considerably easier for the dull-witted, if it is related in another manner with specific implications. Of these, the first, the Padmini type, is considered supreme ; then come the other three types, in that order of excellence. The Padmini type of woman is soft as a lotus-bud, and her mucous discharge too has the unusual fragrance of a blossoming lotus.
Her eyes are scarlet at the corners and resemble those of a startled gazelle, and her two breasts are peerlessly beautiful, like the Shriphala fruits. The fruits of the Bilva tree. Her nose is delicate, like a Tila flower, and she is ever mindful of the worship of Brahmans, preceptors and deities. She has the lustre of lotus- petals and the golden complexion of the Champaka flower. She walks gracefully like a swan, and like a swan, her voice pleases. Thin in build, her torso is divided by three clear outlines.
She dresses with dignity, partakes moderately of soft and clean food, bears herself with dignity and inviol- able self-respect, and favours particularly white flowers and white dresses.
The Chitrini type of woman has an attractive gait, and is neither too tall nor too short. Though thin in build, she has large breasts and yoni, symme- trical thighs and full lips.
Her mucous discharge has the fragrance of honey, her neck is conch-shaped with the three lines thought to be very fortunate , her voice is the song of the Chakora bird, and she is adept in the arts of dancing, music and the other arts.
Her yoni is well-rounded and high, soft and well-lubricated inside, and having sparse pubic hair. She has quick sight and perception, and a fond- ness for indulging in unions.
Her taste in garments, garlands, ornaments and cosmetics is inchned to be colourful. The Shankhini type of woman is neither too fat nor too thin. She possesses long legs and a long torso, and is fond of red flowers and garments. She is quick-tempered. Her walk is undulating, her yoni is covered generously with pubic hair, and her mucous discharge smells acid. R Bharchoondi. Francisco Niegas. Syed Wahaj Ul Haq. Andreea Boros.
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