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History of Classical Sanskrit Literature c41: Chapter XXVII. Kamasastra (Erotics)

History of Classical Sanskrit Literature c41

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English

Chapter XXVII. Kamasastra (Erotics)

c41.1

Kamasastra

c41.3

**1065. Kamasastra** treats of Erotics in its most comprehensive signification. For purposes of literature, erotics are on the same level as poetics and may, not improperly, be called a branch of Sāhitya. The classification of heroes and heroines, the description of their qualities, the progress of their loves and the means of their union are all stated in works on poetics or erotics and these precepts are adopted and elaborated in the poetical and particularly the dramatic literature. Bhavabhūti, in his Mālatīmādhava, expressly says that his play is an illustration of Kāmasūtra. Without a study of erotics, Sanskrit poetry cannot be appreciated.

c41.4

Kāma or love is the third 'Puruṣārtha, that is, the third object of a man's life. From the remotest ages the idea that enjoyment of pleasures is as much necessary for a man's salvation as Dharma and Artha, virtue and wealth, has been prevalent in India, and tradition attributes the first treatise on these three objects of life to the Creator himself in 100,000 chapters. It is out of this first source, Manu and Bṛhaspati formulated distinct works on Dharma and Artha. Nandin it was that related the principles of Kāmaśāstra in 1,000 chapters and of these summaries were made by Śvetaketu and Bābhravya. Bābhravya's summary was itself a large work in 150 chapters and in seven parts dealt with seven subjects, Sādhāraṇa, Sāmprayogika, Kanyāsāmprayogika, Bhāryādhikārika, Pāradārika, Vaiśika and Aupaniṣadika. The first deals with the merit of Kāmaśāstra, the nature of education and the regulation of life; the second with sensual enjoyment and copulation; the third with wooing, training and company of girls; the fourth with relations between husband and wife; the fifth with dealings with the wives of others; the sixth with public women, and the seventh with charms and medicines in relation to enjoyment of sensual pleasures.

c41.5

From this vast volume of Bābhravya, the various topics were separated and related respectively by Cārāyaṇa, Suvarṇanābha, Ghoṭakamukha, Gonardīya, Goṇikāputra, Dattaka and Kucimāra. Of these all but the last are now lost. It was Vātsyāyana who made an epitome of these writings in his Kāmasūtras of 36 chapters, with the object of comprehending the whole subject of erotics in an easy and readable form. This is the resume of early literature with which Vātsyāyana begins his Kāmasūtra.¹

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¹ Ed. by S. R. Schmidt. Tr. into German. Ed. Bombay with Jayamangala commentary. Translated into English in 1883, and recently by K. Rangasami Iyengar (Lahore). See also *CC*, 215, 256. On Kālidāsa's quotations from Vātsyāyana, see Peterson, *JBRAS*, XVIII, 110 and Mujumdar, *IA*, XLVII, 195.

c41.7

It is the view of Vātsyāyana that all these three Puruṣārthas, Dharma, Artha and Kāma are equally serviceable and conducive to bliss here and in the other world. He begins by saying धर्मार्थकामेभ्यो नमः and traces the source of Kāmaśāstra to the Creator himself thus:—

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प्रजापतिर्हि प्रजास्सृष्ट्वा तासां स्थितिनिबन्धनं त्रिवर्गसाधनमध्यायानां शतसहस्रे-
णामे प्रोवाच ।

c41.9

He advocates Kāma, the enjoyment of sensual pleasures, without prejudice to Dharma and Artha, in the period of youth:—

c41.10

शतायुर्वै पुरुषो विभज्य कालमन्योन्यानुबद्धं परस्परस्यानुपघातकं त्रिवर्ग सेवेत ।

c41.11

In answer to a deprecation of Kāma as undesirable expressed thus:

c41.12

न कामांश्चरेत् । धर्मार्थयोः प्रधानयोरेवमन्येषां च सतां प्रत्यनीकत्वात् । अनर्थजनसंसर्गम-
सद्भाववसायमशौचमनायतिं चैते पुरुषस्य जनयन्ति । तथा प्रमादं लाघवमप्रत्ययमग्राह्यतां च ।,

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he writes

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शरीरस्थितिहेतुत्वादाहारसधर्माणो हि कामाः फलभूताश्च धर्मार्थयोः बोद्धव्यं तु दोषेभ्बिव ।
न हि भिक्षुकाः सन्तीति स्थाल्यो नाधिश्रीयन्ते, न हि मृगास्सन्तीति यवा नोप्यन्ते ।

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and quotes an ancient verse

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एवमर्थं च कामं च धर्मं चोपचरेन्नरः ।
इहामुत्र च निःशल्यमत्यन्तं सुखमश्नुते ॥

c41.17

The last verses embody a counsel of good conduct thus:

c41.18

तदेतत् ब्रह्मचर्येण परेण च समाधिना ।
विहितं लोकयात्रायै न रागोऽत्राहि संविधिः ॥
रक्षन् धर्मार्थकामानां स्थितिं स्वां लोकवर्तिनीम् ।
अस्य शास्त्रस्य तत्त्वज्ञो भवत्येव जितेन्द्रियः ॥
तदेतत्कुशलो विद्वान् धर्मार्थाववलोकयन् ।
नातिरागात्मकः कामी प्रयुञ्जानः प्रसिध्यति ॥

c41.19

and then the sage predicates salvation for a life devoted to pleasure consistent with Dharma and Artha.

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**1066. Dattaka**, ¹ the son of a Brahmin of Mathurā, was born at Pātaliputra. Having lost his mother while yet an infant his father gave away the boy to a Brahmin woman and so he was known as Daṭṭaka. He wanted to study the ways of the world and thinking that the best means was a resort to the homes of dancing woman, got into their company and soon learnt their artful devices to a high degree so that he was requested by them to compose a work on the principles of Kāmaśāstra relating to their profession. So says Vātsyāyana in his Kāmasūtras² and the commentary of Jayamangala gives the tradition.

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¹ Is he identical with Daṭṭ ? Their probable lates are the same.

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² तस्य षष्ठं वैशिकमधिकरणं पाटलीपुत्रिकाणां गणिकानां नियोगात् दत्तकः पृथक् चकार ।

c41.23

The work, Daṭṭaka-sūtras, is not available, except two aphorisms quoted by Śyāmilaka and Iśvaradaṭṭa³ in their plays and there is a parody of it by a character in Śūdraka's Padmaprābhṛtaka that it began with the letter ओम्.⁴

c41.24

³ किन्नवीषि—वेश्याभ्यो यद्दीयते तन्नष्टं इति बहवो ब्रुवन्ति ।

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⁴ वेश्याङ्गणं प्रविष्टो मोहाद्विकार्यदृच्छया वापि ।

c41.26

Mādhavavarman II, the king of the Ganga dynasty, wrote a vṛtti on Daṭṭaka-sūtras. He was the 5th ancestor of Durvinīta and lived probably about 380 A.D.⁵ A fragment of the vṛtti which is in verse embraces two pādas only, dealing with rakta and virakta Veśyas and Śayanopacāra.⁶ It is doubted if this is a summary of Daṭṭaka's original Tantra; for the first verse runs thus:

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⁵ See para 48 *supra*. *EC*, IX. 7 and No. *DB*, 68. दत्तकसूत्रवृत्तेः प्रणेतुः श्रीमन्माधवमहाधिराजस्य ।

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⁶ *TC.* IV. 4785. Here are some verses:

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यद्दत्तकेन प्रमदाहितार्थं कान्तानुवृत्तं कथितं स्वतन्त्रे ।
तस्मात्समाहृत्य समस्तमन्यं वेश्याङ्गनावृत्तमहं प्रवक्ष्ये ॥

c41.30

—*Kāmasūtra, I.*

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तद्दत्तकेनाप्युक्तं, कामोऽर्थनाशः पुंसामिति ॥—*Dhurṭavītasamvāda.*
सा हि तपस्विनी निवृत्तकामतन्त्रा रजोपरोधात् केवलकुटुम्बतन्तवार्थं शब्दकाममनुवर्तते । गम्यश्चायमस्याः । अपुमान् शब्दकाम इति दात्तकीयाः ॥
*Pādatāditaka.*

c41.32

न आजते प्रयुक्तो दत्तकसूत्रेण्विवोङ्कारः ॥—*Padmaprābhṛtaka.*

c41.33

कान्तेन यत्नान्मुखवासपूर्वभोगांश्च गृहीत सुखी नियोगात् ।
कृष्णा च कृष्णोत्तरमात्रमस्मै मन्दः प्रयच्छेद्वतिवाक्यमादौ ॥
भुजे प्रियस्य स्वशिरो निधाय तस्योत्तमाङ्गं स्वभुजेऽवसज्य ।
गात्राणि तद्गात्रवशं निवेश्य कान्तेन सार्थं कथयेच्छयाना ॥

c41.34

**1067. Kucimaratantra** is not fully extant. A few sections in the Aupaniṣadam (medicine) chapter have been traced and published. It is avowedly a narration of Kucimāra’s practices and his greatness has brought this work into repute, enough to call it an Upaniṣad. Thus is begins :—

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शङ्कराय नमस्कृत्य यत्पूर्वैस्समुदाहृतम् ।
* * * तकरं नृणां मंत्रौषधिसमन्वितम् ॥

संयोगादिष्टसंसारादुपपन्नं च तत्वतः ।
कूचिमारेण तपसा यत्कृतं क्रीडनं पुरा ॥

तत्प्रवक्ष्यामि चित्रार्थं नानार्थपदनिश्श्रितम् ।
श्रूयतां नामतश्चैव कूचूपनिषदं पुनः ।
बृंहणं लेपनं चैव वश्यं बन्धनवृष्यकम् ।
पादलेपाञ्जनं तैलं रोमनाशनमेव च ॥

c41.36

Even in its present form, the work is very old and can be assigned to a date earlier than the 10th century A. D.¹

c41.37

¹ Printed Lahore ; *DC*, VIII. 2945. app. 7908. (*Kucimārasaṃhitā*).

c41.38

**1068. Vatsyayana.** Tradition accords to Vātsyāyana the repute of a Muni or Maharṣi. His proper name was Mallanāga of the Vātsyāyana family but his identity with Paksilaswāmin, the author of Nyāyabhāṣya, is not substantitated. Obviously he flourished in the age when the sūṭra form of literature was in vogue. His exact date is as usual a chronological speculatton, but the uncertainty is a matter of relativity. Vātsyāyana instances the killing of his queen Malayavaṭī by Kunṭala Sāṭakarṇi Sāṭavāhana.² Kunṭala Sāṭakarṇi or Swāṭi Karṇa was the 13th Āndhra king, and son of Mṛgendra Swāṭikarṇa and according to Maṭsyapurāṇa and Kaliyugarājavṛtṭanṭa he ruled in Kali 2487-2481, that is B. C. 615-607.³ This date is of orthodox acceptance. Leaving an appreciable interval for the act of that king to become a story of notoriety and being instanced in literature, we may safely assign Vātsyāyana to the 4th or 3rd century B.C.

c41.39

² See Introduction, about Kings of Magadha.

c41.40

³ कर्तर्या कुन्तलश्शातकर्णिश्शातवाहनः महादेवीं मलयवतीं जघान । II. vii. The use of perfect tense shows that the story was already considered traditional. But V. Smith places Purikasena (for variations of this name, see T. S. Narayana Sastri, *o. c.*, 99 where he gives him the date 485-464 B. C.) in 59 A.D, from which K. G. Sankara Iyer (*JMy*, VIII. 291) deduces the date 45 B. C. for Kunṭala Sāṭakarṇi and relying on the quotation of Laṅkāvatārasūṭras in the Nyāyasūṭras he takes us through a labarynth of cross-references to Aśvagoḥsa and Nāgārjuna and concludes

c41.41

Kāmasūtra¹ is a valuable treatise on sociology and eugenics.² The work, says H. C. Chakladar, (*JBORS*, V, part ii) "furnishes a beautiful picture of the Indian home, its interior and surroundings. It delineates the life and conduct of a devoted Indian wife, the mistress of the household and the controller of her husband's purse. It describes the daily life of a young man of fashion, his many-sided culture and refinement, his courtships and peccadillos, the sports and pastimes he revelled in, the parties and clubs he associated with. The wanton wiles of gay Lotharios and merry maidens, the abuses and intrigues prevailing among high officials and princes and the evils practised in their crowded harems, are described at great length and often with local details for the various provinces of India. The Kamasutra shows, moreover, that, as in the Athens of Pericles, the hetaerae skilled in the arts, the artists, the actress and the danceuse, occupied a no very mean or insignificant position in society. The book thus throws light on Indian life from various sides."

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¹ Ed. Benares and Bombay. For an excellent exposition in Telugu, see Vātsyāyana's Kamasutra, T. P. Adinarayana Sastri, Madras.

c41.43

² For an elaborate essay on the work, see Haranachandra Chakladar's *Studies in Kamasutra of Vatsyayana*, Calcutta. See Peterson *JBRAS*, (1891), 109; J. N. Samaddar, *Economic Ideal of Kamasutra*, *IA*, LIII, 146. There is another English translation published by Brijmohan & Co., Amritsar.

c41.44

Kāmasutras composed in 350 A D. If Vātsyāyana was regarded as a divine or a Ṛṣi by Kālidāsa and Bhavabhuti, this date subverts all imagination.

c41.45

"It can be shown that the book, as we have it now, was known to Bhavabhuti, who flourished at the end of the seventh century, and that he makes constant reference to it in his Mālatimadhava. There is a statement to that effect at the beginning of the play itself, the point of which has been hitherto missed. I refer to the phrase "Auddhatyamayojitakamasutram," which occurs in the enumeration by the actor of the qualities the audience expect to find in the play about to be represented before them. Jagaddhara sees no reference to a book here, and Bhandarkar, differing from Jagaddhara, translates, "bold or adventurous deed, intended to assist the progress of love (*lit.* in which is introduced the thread of love)." Bhavabhuti doubtless means this too. But his words include a reference to this book of which he makes great use. When Kamandaki slyly suggests, while professing to put aside, the tales of how Sakuntala and others followed the dictates of their own hearts in love, he is following Vatsyayana. When she tells Avalokita that the one auspicious omen of a happy marriage is that bride and bridegroom should love one another, and quotes the old saying that the happy husband is he who marries the girl who has bound to her his heart and his eye, she is quoting Vatsyayana, and so in many other parts of the play, one of the most conspicuous passages is in his seventh act, where Buddharakshita breaks through her Prakrit to quote the Sanskrit phrase, "Kusumasadharmaṇo hi yoshitaḥ sukumaropakramaḥ"---"For women are like flowers, and should be approached gently." Buddharakshita is quoting our book (p. 199), and the whole of the context refers to a matter which Vatsyayana treats of at great length, and which is interwoven with the plot of the Malatimadhava." *PR*, II, 67

c41.46

Besides Bhoja's Śṛṅgāraprakāśa, which is practically an elaboration of portions of Kāmasūtras, there are commentaries on it by Yaśodhara Bhāskara Nṛsiṁha, Vīrabhadraḍeva, Malladeva¹ and one anonymous.²

c41.47

¹ *CC*, I. 93; *Bik*, 535.

c41.48

² *PR*, IV. 25.

c41.49

1069. **Yaśodhara**'s gloss, Jayamaṅgalā,³ is attributed by some scholars to Śaṅkarārya or Śaṅkarācārya,⁴ because other commentaries of the name of Jayamaṅgalā, such as on Cāṇakya's Arthaśāstra, Kāmandaki's Nītiśāstra, Bhaṭṭikāvya, Īśvara's Sāṅkhyasaptāsaṭi etc., are said to be of the latter's authorship and Yaśodhara alias Indraprabha is in that case only a scribe.⁵ It is not possible to say who that Śaṅkara was, except that this gloss is later than Kokkoka and cannot be earlier than the 13th century A.D. The great Śaṅkara himself is said to have written a Bhāṣya on Kāmasūtras.

c41.50

³ See TC, V. 6333.

c41.51

⁴ See Weber, *IL*. 267 note.

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⁵ The colophon to the gloss reads thus :

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1070. **Vīrabhadraḍeva** was the son of Rāmacandra and a king of Veghelā dynasty of the line of Śālivāhana. His Kandarpa-cūḍāmaṇi⁶ is a running commentary in verse and gives the date of its composition as Saṁ. 1633 (1577 A.D.).⁷ BHĀSKARA NṚSIṀHA lived at Benares and composed his work at the instance of one Vrajlāll in 1788 A,D.

c41.54

⁶ *SKC*, 64; *PR*, II. 66; P. K. Gode, *Identification of Virabhanu* (COJ, II. 254 where geneology is given).

c41.55

⁷ *DC*, VIII. 2931.

c41.56

1071. There is a tradition that Śaṅkara wrote Manasijasūṭras and Jyotirīśvara says that he had seen Manmathataṇṭra of Īśvara.

c41.57

इति श्रीवात्स्यनीयकामसूत्रटीकायां जयमङ्गलाभिधानायां विदग्धाङ्गनाविरहकातरेण गुरुदत्तेन्द्रपदामिधानेन यशोधरेण एकत्रकृतसूत्रभाष्यायाम् ।

c41.58

"It is not possible to make out the real meaning of the underlined words and they certainly cannot mean that Yaśodhara brought the Sūṭras and Bhāṣya together because they are adjectival to Ṭīkā, and Ṭīkā cannot be a combination of sūṭras and Bhāṣya. Peterson says "The author gives his name as Yaśodhara but states that he wrote this explanaion of the Sūṭras which Vātsyāyana collected after he had retired from the world in grief at the loss of a beloved wife, and had, under the name of Indrapāla entered the ascetic life." (*PR*, II. 67).

c41.59

हरलोचनहरलोचनरसशशिमिविश्रुते समये ।
फाल्गुनशुक्लप्रतिपदि पूर्णो ग्रन्थस्सरस्सेरः ॥

c41.60

Raṇṭīdeva's Yogādhikārikā also deals with medicines,¹ for instance

c41.61

¹ *CC*, I. 493. He is mentioned in *Sāktiratnākara* (*Ouf*. 101).

c41.62

माहेन्द्रमुष्कं सकलं घृतेन ससैन्धवं गव्यपयस्सुसिद्धम् ।
तद्भक्षयित्वा रतिसङ्गरेषु जयत्यकस्माद्युवतीसहस्रम् ॥

c41.63

Nāgārjuna or Siddha Nāgārjuna² is said to have composed Vaśīkaraṇataṇṭra.³ It is nct now available. There is Nāgārjunīyayogaśaṭaka by Dhruvapāla.⁴

c41.64

² See *IA*, IV. 141; X. 87; XV. 352; XVI. 169.

c41.65

³ 3, *CC*, I. 283; III. 61.

c41.66

⁴ *Opp*. 998; II. 1090; *Oudh*, XII. 26.

c41.67

Kṣemendra's Vātsyayanasūtrasāra is quoted in his Aucityavicāracarcā (39).

c41.68

**1072. Padmasri** or Padmaśrignāna was a Buddhist monk. He mentions Kuṭṭnīmata and is quoted in Śārṅgadharapaddhaṭi, and he must have therefore lived about 1000 A. D. In his Nāgarasarvasva in 18 parts, he sums up with fine illustrations in flowing poetry all that is needed for a man of aesthetic and amorous tastes. Besides describing the means of adoring one's person and residence, it embraces all stages of love from wooing to conception, with instructions on charms and medicines.

c41.69

There are two commentaries on it by Tanusukharama⁵ (the editor) and by Jagajjyoṭirmalla (1617-1633 A.D.). Nagaridāsa wrote Nāgarasamuccaya.⁶

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⁵ Ed. by himself, Bombay with a valuable introduction.

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⁶ Printed, Bombay.

c41.72

**1073. Kalyanamala** wrote his Anaṅgaraṅga⁷ to please a Mohammadan ruler of Oudh, Ladakhan Lodi, son of Ahmedkhan. In ten chapters it describes the sensual qualities of different clauses of women and purports to be a compendium of writings on the subject. He also wrote Sulomaṭcariṭa, a Sanskrit version of the story of Solomon, son of David, in the old Testament.⁸

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⁷ Ed. Lahore. *DC*, VIII, 2941. Here is a verse for instance:

c41.74

⁸ *DC*, XXI. 8150.

c41.75

अनिद्राम्बुजकोशतुल्यवदना रम्या मराळस्वना
तन्वी हंसपथागतिस्सललितं वेषं सदा बिभ्रती ।
मध्यं चापि वलित्रयाङ्किततनुश्शुक्लाम्बराकांक्षिणी
सुग्रीवा शुभनासिकेति गदिता नार्युत्तमा पद्मिनी ॥

c41.76

1074. **Kokkoka** was the son of Tejoka and grandson of Pāribhadra. His RATIRAHASYAM in 10 chapters was composed for the delectation of one Vainyaḍaṭṭa and is an elegent and lucid summary of Kāmasūtras. It is quoted by Kumbhakarṇa and by Nayacandra and was probably composed in the 12th century A.D.

c41.77

There are commentaries on Ratirahasya¹ by Kāñcīnāṭha,² Avanca Rāmacandra,³ and Kaviprabhu.⁴ Harihara's Śṛṅgārarasabandhapradīpikā is also a commentary.⁵

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¹ *Tanj.* XVI. 7355.

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² Ed. Benares. *DC*, VIII. 2957; *Tanj.* XXII. 7357.

c41.80

³ *DC*, VIII. 2955. This was translated into Telugu and Tamil long ago.

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⁴ *Tanj*, XVI. 7358.

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⁵ *Tanj*, XVI. 7359.

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उद्भूतः पारिभद्रामरनरुफणि... प्रेयसीगीतकीर्तेः
नप्ता तेजोकनाम्नससदसि बहुमतः पंडितानां कवीनाम् ।
एतच्छ्रीगद्यविद्याधरकवितनयः कामकेळीरहस्यं
कोक्कोकः कामुकानां किमपि रतिकरं व्याकरोत् कौतुकेन ॥

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The colophon reads: इति श्रीसिद्धपंडितसिंहली यकोक्कोकविरचिते रतिरहस्ये ।

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Kāmaśāstram⁶ is a compilation of verses on erotics with pictorial representations, one in each sheet; but the verses appear to be from Ratirahasya, which as preserved in Tanjore has readings different from the published edition.⁷

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⁶ *Tanj*, XV. 7366.

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⁷ *Ibid*, 7355. There is a Kāmaśāṣṭra by Silhapata Iśvarakāmita, quoted by Arjunavarman in his gloss on Amaruka. *CC*, I. 61.

c41.88

1075. **Harihara**, son of Rāmavidvat, bore the title Sahajasārasvaṭacandra. He also wrote Ratirahasya or Śṛṅgārabhedapadīpikā⁸ or Śṛṅgāradīpika in which chapter IV deals with mantras, yantras and medicines. It is said that he was a Telugu poet and wrote Bhāgavata about 1450 A.D.⁹ But if Vidyādhara's mention of a poet Harihara and his work Bindvalankara, as having received immense weath from a king Arjuna means this Harihara and if King Arjuna is king Arjunavarman of Malva, he must have lived in the beginning of the 13th century A.D.¹ Harihara, son of Candra, wrote Ratidarpaṇa.²

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⁸ *TC*, II. 2452. Ms. breaks off in the 5th chapter. (Mys. 207, *DC*, VIII. 2950). These chapters were published by R. S. Schmidt in *ZDMG*. Aufrecht (*CC*, I. 661. gives the reference as Burnell, 59. But the Tanjore catalogue has no such name. There is a Śabdabhedapradīpikā (anonymous) noted there, Tanj. IX. 3903.

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⁹ See Viresalingam's Poets Part. III.

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¹ S. K. De, *SP*, I. 323 says "There are poets of the name Harihara (*CC*, I. 662-3); (i) quoted in Padyāvali (ii) commentator as Bhattikavya and Anargaraghava and Amarustaka (iii) the anthologist (iv) authors of Ciṭrabhanukāvya, and Jānakimaṇikyastava, (vi) Prabhāvaṭīparinayanātaka (vii) Hṛdayaduta Kāvya. There is a poet Hariharadeva in Śārṅgadharapaddhati (p. 98) where he praises a poet Sudarsāna."

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² *TC*, III. 4140.

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1076. **Ananta's** Kāmasamūha is a fine description of all factors of love. It begins with a description of the seasons and embraces the classification of women and stages and progress of love. It was composed in 1457 A.D. but seeing that some verses in it are quoted in Subhāṣitāvali under other authors, this work may have been a compilation.³

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³ *C Bod.* 218 note; *PR*, III. 22, 366.

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1077. **Immadi Praudhadevaraya's** Ratiratnapradīpikā is an elaborate and interesting treatise on sexual pleasures, external and internal. In seven chapters and in easy verse it initiates lovers into fashions of enjoyment and shows that the passions of amour can receive appreciation. He was King of Vijianagar (1422-48 A.D.)⁴

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⁴ Ed. Mysore by K. Rangaswami Iyengar, with English translation, but his attribution of the work to Doddadevaraya Wodayar of Mysore is incorrect

c41.97

Sri Sasali Vīraṇarādhya lived at the end of the 15th century A.D. He wrote Pancaratna and says:

c41.98

भुक्तिमुक्तिप्रदं माररहस्यं पञ्चरत्नकम् ।
व्यधत्तोपनिषत्सर्वं वीरणाराध्ययोगिराट् ॥

c41.99

Revaṇārādhya wrote a commentary on it.

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1078. **Kavisekhara Jyotirisvara's** Pancasāyaka deals in four parts with classes of women, species of enjoyment, mantras and aphrodasiacs.⁵ He says

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⁵ Printed, Bombay. See para 685 *supra*. *BRI* (1925) 15; *TC*, III. 4035.

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दृष्ट्वा मन्मथतन्त्रमीश्वरकृतं वात्स्यायनीयं मतं
गोणीपुत्रकमूलदेवभणितं बाभ्रव्यकाव्यामृतम् ।
श्रीनन्दीश्वरचित्तिदेवभणितं क्षेमं च विद्यागमम्
एते कामिषु पञ्चसायकमिति प्रीतिप्रदं प्राणिनाम् ॥

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1079. King SHAHAJI of Tanjore (1684-1710 A.D.) wrote Śṛṅgāramañjarī, embracing poetics and erotics.⁶ 1080. MĪNANĀTHA wrote Smaradīpikā or Ratiratnapradīpikā. He describes the plan of his work thus:¹

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⁶ *Tanj*, XVI. 7865.

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¹ *CC*, I. 745, 455. He is quoted by Manoharaśarman, *Oxf*, 352; *PR*, II. 190.

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प्रथमं जातिनिर्देशस्ततो नायकलक्षणम् ।
ततश्चाभ्यन्तररतिः स्वान्यदाराधिकारिता ।
वारनार्यधिकारश्च क्रमशोऽन्ते प्रदर्शितः ॥

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SRĪNĀTHABHAṬṬA wrote a treatise in 16 chapters on erotic sorcery, as expounded in the Ṭantras.² There is a Kāmataṇṭra in 14 parts of unknown authorship.³

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² *Mitra's Notics*, No. 991, *IO*, IV. 921; *BRI*, (1925) 15. Ed. Bombay.

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³ *OML*, No. 14930?

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1081. Rasikaranjanam of Vaidyanāṭha and Raṣikabodhinī of his father Kāmarājadīkṣiṭa⁴ and Śṛṅgāraṭilakam of Kālidasa are small poetic descriptions of amorous sentiments.⁵

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⁴ *DC*, XX. 8009.

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⁵ See S.K. De. *SP*, I. 320 and for quotations see Nāgarasasva (Ed Bombay. p. 117). For instance:

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1082. Rasacandrikā of Viśveśvara⁶ describes heroes and heroines. Vitavṛtta describes the relations between harlots and their lovers and was probably composed by Saumaḍaṭṭin.⁷ Māḍhava's Jaḍavṛtta gives a humorous account of fools as dupes of dancing woman.⁸ Ḍhūrtānandam in 4 parts is an attractive account of the rakish ways of the man of the town.⁹

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⁶ *TC*, II. 18.

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⁷ The first verse of the work is quoted as Saumaḍaṭṭin's in Vallabhadeva's Subhāṣiṭāvali. But a commentary on Jaḍavṛttam ascribes the work to Bhartṛhari's (Manuscript in Or. Ms. Library in Madras).

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⁸ *Trav*. 74.

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⁹ *TC*, III. 3981. *Trav*. 74.

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Ciṭraḍhara's Śṛṅgārasāra in 7 Paḍḍhaṭis deals with the origin,

c41.119

मन्थाः शिक्षः स्मरोऽग्निर्मगमरणिरहो रोमपंक्तिस्तु दर्भाः
होमद्रव्यं हि रेतो मणितमपि च वागृत्विजावण्ङयुग्मम् ।
एतत्कामाग्निहोत्रं विधिविहितमहो सालसाक्षो भजन्ते
धिक्तान् धिक्तान् धिगेतानिति वदति सखं वारयोषिन्मृदङ्गः ॥

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This is based on Chandogyapauṣad (V. 8.)

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“योषा वाव गोतमाग्निस्तस्या उपस्थ एव समिद्यदुपमन्त्रयते सधूमो योनिरर्चिर्यदन्तः करोति तेऽङ्गारा अभिनन्दस्फुलिङ्गाः । तस्मिन्नेतस्मिन्नग्नौ देवा रेतो जुह्वति ॥

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emotions, progress and consummation of love and incidentally with music and dancing.¹

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¹ *DC*, XX. 8016. *IO. I.* 364.

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Smaraḍīpikā² is a short piece of 157 verses and embraces all the topics of erotics. In the colophon of one of the manuscripts it is attributed to Mūlaḍeva, but the third verse indicates that the author was Ruḍra. Raṭimanjari of Jayaḍeva is a small piece on women and copulation.³ Kāmāprābhṛṭaka by Keśava is an introductory treatise on erotics and shows fine poetry.⁴ So is Kāmānaṇḍa in 5 patalas of Varaḍarāja, son of Iśvarāḍhvarin.⁵

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² *PR.* II. No. 113. *Tanj*, XVI. 7363.

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³ Ed. Bombay and elsewhere.

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⁴ *TC*, III. 3897.

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⁵ *TC*, III. 3898.

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Anangaḍīpikā (in prose),⁶ Raṭisāra,⁷ Raṭicandrikā,⁸ and Śṛngārakuṭūhala of Kautukaḍeva,⁹ and Ṭṛṭīyapuruṣārṭhasāḍhakasaraṇi,¹⁰ and Praṇayacinṭā deal with amorous sentiments and dalliance. Bandhoḍaya is a collection of pictures very artistically drawn upon palm leaves illustrating various postures of copulation and accompanied by the verse describing the bandhas.¹¹ Śṛngārakanḍuka or Jārapancāśaṭ describes in two parts some amorous situations as between Kṛṣṇa and Gopis.¹²

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⁶ *Bik.* 531.

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⁷ *CBK*, 531-3.

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⁸ *DC*, VIII. 3894.

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⁹ *TC*, IV. 5001.

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¹⁰ *OML* No. 3/649.

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¹¹ Ibid. Ms. No. 4/574. Sambhogāḍhyayām (*Mys.* 307). Kāmakalpalaṭā of Saḍāśiva is a similar work on postures of copulation without pictures. The latter manuscript is available with Mr. Ramakrishna Kavi, Madras.

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¹² *TC* II. 1400. There is a commentary on it by Venkatarāghava of Śrīśaila family.

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Veśyāṅganākalpaḍruma relates to courtesans.¹³ Raghupaṭirahasyaḍīpikā stops with Sambhogaprakaraṇa.¹⁴

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¹³ ¶13. *Opp.* 6220.

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¹⁴ *Adyar*, II. 37.

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**1083. Miscellaneous.** Kāmasāra of Karṇaḍeva,¹⁵ Raṭisāra of King Mādhavadeva,¹⁶ Raṭicandrikā.¹⁷ (Kāmaraṭna, Rasikasarvasva, Kāmaprakāsā, Nāgaravallabha and Manmathasaṃhitā.¹

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¹⁵ *PR*, III. 22, 366.

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¹⁶ *Mys.* 307.

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¹⁷ *TC*, III. 3899.

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¹ Mentioned in Preface to Edn. of Ratirahasya.

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Madanamahārṇava of Mandhātā,² Kāmaprabodha of Anūpasimha,³ Sadarpakandarpa by Bhavānanda Thakkura,³ Madanasañjīvinī,⁴ Anangaṭilaka,⁵ Anangadīpikā,⁶ Anangaśekhara,⁷ Strīvilāsa of Ḍeveśvara Upādhyāya,⁸ Ratinīṭimukula of Kṣemakara Sāstrin,⁹ and Kavicintāmaṇi.¹⁰

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² *BRI*, 1925), 76. There is one Madanārṇava, *Bik*. 533.

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³ *Bik*. 532.

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⁴ CASB, 211.

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⁵ 5, Opp, II. 2738.

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⁶ *Opp*, 6518, 6556.

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⁷ *Bik*. 531.

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⁸ Opp, 5482.

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⁹ *BRI*, (1925), 76.

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¹⁰ Printed, Bombay.
11. TC, II. 1363 ; *DC*, VIII. No. 3894.

Cites (42)