The Kama Sutra
, Part 2, CHAPTER 7:
OF THE VARIOUS MODES OF STRIKING, AND OF THE SOUNDS APPROPRIATE TO THEM
SEXUAL intercourse can be compared to a quarrel
, on account of the contrarieties of love and its tendency to dispute. The place of striking with passion
is the body, and on the body the special places are:
- The shoulders
- The head
- The space between the breasts
- The back
- The jaghana, or middle part of the body
- The sides
Striking is of four kinds:
- Striking with the back of the hand
- Striking with the fingers a little contracted
- Striking with the fist
- Striking with the open palm of the hand
On account of its causing pain, striking gives rise to the hissing sound, which is of various kinds, and to the eight kinds of crying:
- The sound Hin
- The thundering sound
- The cooing sound
- The weeping sound
- The sound Phut
- The sound Phât
- The sound Sût
- The sound Plât
Besides these, there are also words having a meaning, such as `mother', and those that are expressive of prohibition, sufficiency, desire of liberation, pain or praise, and to which may be added sounds like those of the dove
, the cuckoo
, the green pigeon
, the parrot
, the bee
, the sparrow
, the flamingo
, the duck
, and the quail
, which are all occasionally made use of.
Blows with the fist should be given on the back of the woman while she is sitting on the lap of the man, and she should give blows in return, abusing the man as if she were angry, and making the cooing and the weeping sounds. While the woman is engaged in congress the space between the breasts should be struck with the back of the hand, slowly at first, and then proportionately to the increasing excitement, until the end.
At this time the sounds Hin and others may be made, alternately or optionally, according to habit. When the man, making the sound Phât, strikes the woman on the head, with the fingers of his hand a little contracted, it is called Prasritaka, which means striking with the fingers of the hand a little contracted. In this case the appropriate sounds are the cooing sound, the sound Phât and the sound Phut in the interior of the mouth, and at the end of congress the sighing and weeping sounds. The sound Phât is an imitation of the sound of a bamboo being split, while the sound Phut is like the sound made by something falling into water. At all times when kissing and such like things are begun, the woman should give a reply with a hissing sound. During the excitement when the woman is not accustomed to striking, she continually utters words expressive of prohibition, sufficiently, or desire of liberation, as well as the words `father', `mother', intermingled with the sighing, weeping and thundering sounds.1 Towards the conclusion of the congress, the breasts, the jaghana, and the sides of the woman should be pressed with the open palms of the hand, with some force, until the end of it, and then sounds like those of the quail or the goose should be made.
There are two verses (sic) on the subject as follows:
`The characteristics of manhood are said to consist of roughness and impetuosity, while weakness, tenderness, sensibility, and an inclination to turn away from unpleasant things are the distinguishing marks of womanhood. The excitement of passion, and peculiarities of habit may sometimes cause contrary results to appear, but these do not last long, and in the end the natural state is resumed.'
on the bosom, the scissors
on the head, the piercing instrument on the cheeks, and the pinchers on the breasts and sides, may also be taken into consideration with the other four modes of striking, and thus give eight ways altogether. But these four ways of striking with instruments are peculiar to the people of the southern countries, and the marks caused by them are seen on the breasts of their women. They are local peculiarities, but Vatsyayana
is of opinion that the practice of them is painful, barbarous, and base, and quite unworthy of imitation.
In the same way anything that is a local peculiarity should not always be adopted elsewhere, and even in the place where the practice is prevalent, excess of it should always be avoided. Instances of the dangerous use of them may be given as follows. The king of the Panchalas killed the courtesan Madhavasena by means of the wedge during congress. King Satakarni Satavahana of the Kuntalas deprived his great Queen Malayavati of her life by a pair of scissors, and Naradeva, whose hand was deformed, blinded a dancing girl by directing a piercing instrument in a wrong way.
There are also two verses on the subject as follows:
`About these things there cannot be either enumeration or any definite rule. Congress having once commenced, passion alone gives birth to all the acts of the parties.'
`Such passionate actions and amorous gesticulations or movements, which arise on the spur of the moment, and during sexual intercourse, cannot be defined, and are as irregular as dreams. A horse having once attained the fifth degree of motion goes on with blind speed, regardless of pits, ditches, and posts in his way; and in the same manner a loving pair become blind with passion in the heat of congress, and go on with great impetuosity, paying not the least regard to excess. For this reason one who is well acquainted with the science of love, and knowing his own strength, as also the tenderness, impetuosity, and strength of the young women, should act accordingly. The various modes of enjoyment are not for all times or for all persons, but they should only be used at the proper time. and in the proper countries and places.'
Men who are well acquainted with the art of love are well aware how often one woman differs from another in her sighs and sounds during the time of congress. Some women like to be talked to in the most loving way, others in the most lustful way, others in the most abusive way, and so on. Some women enjoy themselves with closed eyes in silence, others make a great noise over it, and some almost faint away. The great art is to ascertain what gives them the greatest pleasure, and what specialities they like best.
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