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The World of Courtesans c11: 8 Courtesans in Mediaeval Kashmir

The World of Courtesans c11

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8 Courtesans in Mediaeval Kashmir

c11.2

FROM THE LITERARY evidences available to us mediaeval Kashmir seems to have been a land of pleasure where courtesans plied their trade freely. It appears that the rulers of Kashmir were far from unwilling to enjoy their company. It is mentioned in the *Rājataraṅgiṇī*, that king Jayāpīḍa (751-782 A.D.) in the course of his expeditions visited Puṇḍravardhana where he went to the temple of Kārtikeya to witness the dance of Kamala who performed it after the manner prescribed by Bharata. While he was seated at the temple gate, the dancing girl Kamala saw him and offered him betel leaves and persuaded him to go to her house

c11.3

Lalitāpīḍa, the son and successor of Jayāpīḍa was, according to the *Rājataraṅgiṇī*, a slave to his passions; he did not attend to his royal duties. He enjoyed the company of courtesans, and squandered away riches on buffoons and parasites (vitas) who gained a foothold in the royal palace through their close contacts with courtesans (bandhakībandhubhavana). They initiated the king in the arts of whoredom. Whoever was well-versed in stories of courtesans and clever at jesting became his friend, but he never sought the friendship of a valiant man or a scholar. The parasites, who hurt modest old men by their jests and thus kept them away, earned his affection and received presents from him. "Clever, like a market-slave, at open mockery, he, with his company of courtesans, made the old among the councillors feel ashamed in his audience hall. He in his wickedness made councillors who were worthy of respect, dress themselves in pretty cloaks and other garments which bore the footprints of courtesans."

c11.4

Morality in eleventh century Kashmir was no better and rulers like Kalasha (1063-1089) spent their time in the company of immoral men and women. According to the *Rājataranginī* Kalasha after the death of his revered *guru* Amarakantha became the pupil of his son Pramadakantha. This new teacher instructed him in wicked practices, and made him ignore the distinction between women who were approachable and those who were not. Kalasha also made fearless and honourable pandits fall at the feet of a merchant who posed as a physician and a teacher of dyers and other craftsmen These *gurus* and worthless characters taught Kalasha to lead a life of evil and ill-doing. There was a strolling flute-player named Chamaka who was a persistent corrupter of women At night he was employed along with musicians who kept late hours, enjoyed sumptuous dinners and always exhaled fetid odours. They vomited undigested food In a drunken state, one Kanaka had him bound to a post and had his nose cut off by his servants. This parasite gradually acquired the new king's attachment by acting as a procurer.

c11.5

There was a stupid astrologer who lived by begging for rice. He roamed about at night and secured the help of the Kshetrapala of the village and became well-known in guessing the things hidden in people's fists As a *guru*, procurer and astrologer he was most dear to the dissolute king.

c11.6

King Kalasha reached a mature age and still he refused to give up this wicked mode of life taught to him by foreigners. The Takka Vullīya bought slave girls from the distant parts of Turushka. They swelled the ranks of his own wives and mistresses. He led a dissolute life and yet managed to preserve his strength by partaking of fish broth and other aphrodisiacs. He also participated eagerly in Tantric rites (*Mahāsamaya*) in which he drank a great deal in the company of his *gurus*. But in this age of degeneration at a time when parasites and prostitutes held their sway, the character of Sahaja, the concubine of Utkarsha, draws our admiration. She had been attached to a temple as a dancing girl. Utkarsha had watched her dance. He admired her talents and took her to the royal seraglio. When Utkarsha committed suicide, she entered the pyre and chose death.

c11.7

Harsha (1089-1101 A.D.), another ruler of Kashmir, was a curious mixture of good and evil. He held a lovely court at night. Its splendour was increased by canopies and golden sticks. The court was attended by courtesans and ministers. It was a gathering of learned men. There was music and dancing too.

c11.8

Wine and women formed an essential part of Harsha's court. Besides, he was extremely fond of splendid costumes and rich ornaments. According to the *Rajatarangini*, nobody in Harsha's court was seen without a brilliant dress and gold ornaments. In the king's palace councillors, chamberlains and other attendants moved about adorned with golden chains and bracelets.

c11.9

The king introduced into his land exotic fashions of all kinds. Before his time with the single exception of the king, men kept their hair loose. They wore no head-dress or ear ornaments. If anybody transgressed the custom, he incurred the displeasure of the king. But when some of Harsha's ministers clothed themselves in brilliant garments he felt so pleased that he asked his female attendants to swing lights around them.

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He also introduced the South Indian (Dakshinatya) fashions from Karnataka. People gathered in his assembly hall waving palm leaves. Their forheads were adorned with big marks of sandalwood paste and they carried long daggers.

c11.11

The courtesans (*vilasinyah*) in the employment of Harsha wore long garlands formed by their hair-braids into which were woven golden *ketaki* leaf ornaments; the pendants worn over their head-marks made them unsteady; they joined the corners of their eyes to the tops of their ears with a line drawn with collyrium; to the ends of their unoiled locks were twined golden strings; with the low train of their garments they kissed the ground; breasts were covered with jackets covering the half length of their arms. They dressed themselves in male attire and resembled the God of Love.

c11.12

The *Kuttanimatam* by Damodara Gupta, the chief minister of Jayapıda (751-782 A.D.) of Kashmir ıs an ambitious work. It throws light on the lıfe of the courtesans ın Kashmir and northern India. The locale of this story ıs Varanasi which was ınhabıted by metaphysıcısts and the worshippers of Shiva. There also lived courtesans (*varastriyah*) who were surrounded by their lovers (*bhujangah*). The flag fluttered from the high pınnacles of the temples. There were schools ın the cıty as well as lofty houses provided wıth balconıes. The cıty was populated wıth sadhus and musıcıans (*gandharvah*). People practısed Yoga and learnt their grammar and prosody. They were exempt from the burden of heavy taxatıon and passed their tıme ın the company of well-educated and soft-spoken women.

c11.13

In the cıty of Varanasi there lıved an accomplıshed courtesan named Malatı. She aroused the jealousy of another courtesan for she always attracted rıch clıents and was always at the head of courtesans (*shulah*). One day as she stood on the terrace of her house, she heard a verse whıch contained a warnıng to the courtesans. The lınes told them not to be proud of theır beauty but to acquıre knowledge of the ways of attractıng theır lovers.

c11.14

Malati was ımpressed by thıs advıce and at once decıded to consult the bawd Vıkarala who was always besıeged by voluptuarıes. Malatı came down from the roof of the house and accompanıed by her attendant went to Vıkarala's place.

c11.15

Vıkarala had very large teeth, a low chın and flat nose. Her breasts were shrunken, her skın had shrıvelled up She had solemn red eyes and the lobes of her ears hung down ın a loose manner. There were traces of grey ın her haır and her veıns were quıte promınent and she always craned her neck. Normally she wore washed clothes, a necklace made of herbs and of precıous stones hung round her neck and a rıng on her fınger. When Malatı entered her room she saw her lookıng covetously at the presents brought by the lovers. She was seated on a chair and surrounded by courtesans. Malati bowed to her and then took a seat at her behest.

c11.16

When she found the rıght opportunıty Malati addressed Vikarala thus, "Using your wits, you are able to rob Hari of his precious jewels, the Sun god of his seven horses and Kubera of his riches. The maxim 'Intelligence is wealth' is amply proved by the state of that poor lover Dhanavarma who is now clad in rags. He has his meals in free kitchens, he shuns all work. He has lost everything and is reduced to the position of a ring on the foot of Narmada. The polite Nagadatta, the younger son of Sagardatta, has left his home and is trying to win over Madanasena. Manjari playfully extends her feet towards the warrior Narasimha who massages them lightly and feels highly pleased (he has lost all his wealth). Subhadeva, son of Dikshita Bhavadeva, does not leave Kesarasena's doors even though she spurns him. Adhering to your wise precepts, even common prostitutes can manage their victims and reduce them to a state where they have to part with their clothes Making a show of love, I have tried to lure the decrepit, the sick, the worthless and the ugly. Mother! How can I face this misfortune?—Even after selling my body, I am unable to get a lover who is desirable. Mother! take pity on me and show me creatures with whom I could make merry and teach me the ways of enslaving them."

c11.17

Vikarala heard Malati's lament and then she patted her and said, "O my beauty, your hair simulates the line of smoke of burning Kama and can reduce lovers to slavery. Your slow moving eyebrows are the very basis of your coquettishness and your glances render even prettier your sweet smile. They can deprive the patient of their poise Even a mere description of your face agitates the minds of voluptuaries. Then imagine what is likely to happen when they actually see you. Your flashing white teeth produce burning desires. Your voice surpasses the *koel's* cooings and is like a wish-fulfilling charm that attracts lovers. Your large and attractive breasts are the seats of Kamadeva. You do not need other ruses. Your braceleted arms, soft as lotus roots, arouse desire in everybody. Your waist is ready to carry out the behests of desire. It is slender and yet it reduces to nought even the big-bodied Your hairline simulating the string of Kama's bow shoots young men. Your perfect limbs can control your lovers and disturb the meditation of hermits. Who does not like your loins that are as smooth as plantain-trunks and can assuage all the heat of love's desire! Your supple thighs are like the golden creeper of the wish-granting tree. Who will not be pleased when he sees your feet that surpass the red of the pomegranate and the beauty of the lily! When you walk, you surpass the gait of the elephants, and you seem to mock the step of the goose and you agitate the hearts of young men. Even so, if you are keen to learn, listen to me with attention. I shall explain things to you to the best of my intelligence."

c11.18

Vikarala relates to her the strategem that need to be employed to captivate a lover. She advises her first to turn her attention to Chintamani. She tells her he was a government servant and a man of independent means. Then she goes on to describe the general appearance of Chintamani. He wore a thick topknot and his falling hair measured five *angulas*. He wore *kankatika* in his earlobes, rings on his fingers and a gold chain. His clothes were pale yellow—the result of saffron applied to his body. He wore a heavy garland and necklaces. His footwear was shod with horseshoes and smeared with bees-wax and olibanum. His hair net was made of multi-coloured lace. In one of his ears he wore a heart-shaped earring (*dalavitakam*) and in the other a leaf-shaped one (*shisapatrakam*). He wore a brocaded *dhoti* coloured yellow with saffron. As he walked he was followed by a betel-tray bearer who carried a conch and a drum and whose nails were dyed red.

c11.19

He sat on the stage erected by the Superintendent of Courtesans (*shuladhyaksha*). He was surrounded by bankers, merchants, rakes and four or five bodyguards equipped with swords. Chintamani sat reclining against a pillow, and his cheeks were full of *pan* juice. He cupped them in his palms. He read out senseless verses torn from their context. Not satisfied with this, he interrupted the recitations of others and expressed his approval or disapproval by patting those seated next to him. In private he told his courtiers that the Raja and his father were on terms of great intimacy. He proudly carried a pair of scissors for he wanted to show that he could cut out stencils. Actually he had no knowledge of that art.

c11.20

His servants followed him, telling him that in music he excelled Narada himself, that he had no equal in the art of war, that he could even equal Vatsyayana in knowledge of *ars amoris*. They added that hunting or hitting a target were just simple and ordinary acts for him. He was immensely pleased with these flatterers but outwardly he disclaimed their praise and told them that they were making fun of him.

c11.21

Not satisfied with this flattery, Chintamani tried to parade his knowledge by asking the dance masters stupid questions about the technical aspects of dancing. At the wrong moment he removed a garland from his neck and presented it to a dancer, praising all the time the perfect technique of her dancing.

c11.22

Then Vikarala groomed Malati and taught her how to entice that fool. She was at first to send to him a go-between who would describe to him Malati's lovesickness and her knowledge of all the arts including *ars amoris*.

c11.23

After this cajolery was over, Chintamani was certain to visit Malati's house. She was advised to expose her body and use all the forms of coquetry. He was to be led to a well-decorated bedroom; there he was to be welcomed by the bawd. After that her relatives should quickly leave the room. Then Malati ought to converse sweetly with him and then unite in sexual intercourse. Her task was again to flatter him and tell him that there were courtesans who could not bear separation from their lovers. In that connection she was to tell him the story of Haralata who gave up her life because she could not bear any separation from her lover. The story of Haralata was then related.

c11.24

In the beautiful and rich city of Pataliputra, the home of lovely courtesans and their lovers, there lived a learned Brahman Purandara. He had a son named Sundarasena who was very learned and handsome. He had a friend named Gunapalita. One day Sundarasena heard somebody recite a verse which said that not to travel to other countries and study the costumes, languages and characteristics of other peoples was verily to lead the lives of hornless bulls. Taking a cue from the verse he at once decided to set out on a journey. His friend Gunapalita tried to dissuade him by pointing out to him the difficulties in his path but Sundarasena was very firm in his resolve and finally Gunapalita himself agreed to accompany him on his travels.

c11.25

After visiting the whole world, they began their return journey. On his way to his home town Sundarasena reached Mt. Abu and was charmed with its scenery, the temples, the tanks, the gardens and the rivers. There he happened to see a beautiful girl. She was surrounded by her friends. He fell in love with her and she returned his love. When he saw Sundarasena's lovelorn condition, his friend said to the girl, "Haralata, stop this manifestation of love, for true love is not for courtesans. Do not care for this wretch, honour the rich, you simpleton! Other courtesans will laugh at you, for you seem to be unmindful of the gains and attracted by beauty alone."

c11.26

He failed to convince her, and could not shake her resolve. Haralata's friend approached Sundarasena and told him of her friend's infatuation for him. Sundarasena had been warned by his friend Gunapalita of the consequences that normally followed any entanglement with a courtesan. Courtesans loved money and money alone; their show of modesty was intended to fan the flames of desire; their non-vegetarian diet and their addiction to drinks fortified them and helped them to recover from the strain imposed on them by their profession; they accepted everybody, irrespective of age or profession etc. They attracted men the way a magnet attracted iron and their toilet was a bait intended to entice their lovers.

c11.27

But Sundarasena was unmoved by his friend's advice. He went to Haralata's house which was located in the quarters of ill-repute. Here follows a very realistic description of that quarter.

c11.28

Here in these quarters of ill-fame a courtesan stood watching a man who had lost all his wealth. He was now entering a house and she stopped him pretending to be envious. In the morning a bundle of rags was presented by a visitor and a prostitute began to lament. A courtesan caught the glimpse of a rake who had not paid her fees.

c11.29

In full fury she rushed out to catch him. A lover was seated inside the house with a bawd. The bawd, seeing a beggar at the door, asked the girl in waiting to give him some clothes. A prostitute showed the bites and scratches on her body to her friend and boasted of her love-making. A prostitute anxious to raise her fees took advantage of the rivalry between clients and vaunted her good fortune before a friend. A bawd saw a group of clients who loved the same prostitute unsheathe their swords and she looked perturbed She rushed out and stopped their fight. A prostitute with flattering words tried to control a rich client. A frolicsome rake sang an Arya verse. A poverty-stricken lover placed his beloved in the service of a wealthy man and managed to enjoy her company in the bargain. A client unable to continue his previous relationship with a courtesan complained to her, "I fell in love with you, I left my house but you are now a stranger to me." A prostitute lodged a complaint against a lover before the assembly of old rakes for recovery of fees from a client

c11.30

Damodara Gupta also records an interesting conversation that took place between the rakes.

c11.31

"Visheshaka, did you see the peacock-bracelets on the arms of Sarika? Give me a quick answer. I' had given them to her." Another rake observed, "I had presented to her garments of Chinese silk and yet Vilasa speaks harshly to me. Madanika, tell me what am I to do?"

c11.32

"O Kalahamsaka, Keli loves me but her ghoulish and sinful mother cannot be subdued even in a hundred years."

c11.33

"O Kinjalkaka, arrange the flowers and the saffron clothes. What is on your mind? Today is the day when your beloved will dance."

c11.34

"I swear that because of your money she has begun to express her love for you these last five days, but she is not really in love with you; then why do you, Kandarpaka, boast of her feelings for you?"

c11.35

"O Vilasaka, if you want to survive, leave her alone, for the son of Vyaprita has his eyes on her."

c11.36

"O Chandrodaya, look how haughty Kamijala is. She is using as a scarf the saffron cloth that she received as a gift in a festival and is walking with her head erect."

c11.37

"I want to pass the first night with Madanasena but her mother makes exorbitant demands."

c11.38

"You Vibhrama, you are drinking the wine left in the glass by the intoxicated Madanasena."

c11.39

Another rake said, "Well Lilodaya, what is the matter? Whose penance has yielded you this fruit that you are enjoying now? Why have you left going to Kuvalayamala's house?" The answer was, "How could I stay at that strumpet's house without paying her fees?"

c11.40

"Night, which steals the bloom of the lotus is about to fall. Manjarika, be ready to massage the legs of Tilakamanjari "

c11.41

The rakes, the bawds, the maid-servants, the courtesans are all engrossed in their talk. An old bawd addresses a voluptuary and speaks to him about her daughter. "Wel Makarandaka, that girl is not yet mature enough She looks down upon other women "

c11.42

A bawd tells her maid, "Kubja, go to that dance-master Ask him what is the point in your exercising Haralata so strenuously?"

c11.43

A bawd addresses her daughter, "Suratdevi, you are engrossed in teaching the young parrot human speech while your lover is waiting for you outside "

c11.44

A bawd tells her maid, "Smaralila has been playing the lyre. She has tired herself and she is lying down. Go and ask Smaralila to get up Tell her that her lover Matta has come."

c11.45

A bawd addresses her daughter within earshot of the lover, "Madhavi, in spite of repeated requests you refuse to wear the jewellery presented by Vigraharaja's son; what kind of waywardness is this?"

c11.46

A clever maid wishes to get ornaments from the hero and addresses the bawd while he is still within earshot "Mother, what am I to do about the careless Indralekha During her drinking bout she did not realize that she has lost her earring."

c11.47

A maid-servant addresses the bawd but wants the hero to hear what she had to say. "She is annoyed that her pet mongoose has not been fed with milk and so this ill-tempered Kamasena refuses to touch any food in spite of my repeated entreaties."

c11.48

A bawd in the absence of her daughter utters the words which are for the lover's ears. "Mukula has forsaken her leisure and rest She is busy night and day looking after her ram. She wants it to defeat the ram reared by Shri-bala's son."

c11.49

A bawd addresses her daughter who is engrossed in her game of ball. "Lalita, your palms are red and swollen. Please do not begin playing the game again soon."

c11.50

During the first night of love-making a bawd speaks to a voluptuary: "Well Abhirama, she is getting her fees in gold for the first time; you will become the master of her life when her love is won "

c11.51

A bawd addresses a new arrival: "If you like Chandra-lekha, then give me money in advance at once; when your desire is fulfilled then give her what you want."

c11.52

A maid lodges a complaint to the bawd against a volup-tuary: "Mother! the son of Vasudeva Bhatta is a mean wretch. That shameless man forcibly pulls the garments of Suratasena, and all in spite of our repeated warnings."

c11.53

"The ram does not yield a strand of wool but feeds vora-ciously on cotton seed."

c11.54

A prostitute speaks in bitter tones to her friend about her lover. "The son of Pataraja does not leave the house for a moment and, therefore, does not give any opportu-nity to others."

c11.55

After hearing the conversation of the *vitas* and prosti-tutes, Sundarasena entered the house of Haralata where he received a warm welcome and both of them passed the night pleasantly

c11.56

In the morning when Sundarasena strolled about in the quarters of the courtesans he saw a few prostitutes chat-ting among themselves.

c11.57

One prostitute, frustrated because of the lack of virility in her lover, said, "I agreed to sleep with him since I was acquainted with him. We spent the night drinking and sleeping, but there was very little love-making."

c11.58

Another prostitute is fatigued by the demands of an over-sexed, stupid and rough Brahman whose body was harden-ed by work, and perhaps no woman was available for him.

c11.59

"His pretence of love-making almost killed me."

c11.60

A prostitute's desires remained unsatisfied after a night spent with an old man.

c11.61

"His desire hardly abates—it does not flag even for a moment; but he is weak and incapable of making love. That old man troubled me today without any rhyme or reason."

c11.62

A prostitute has had a quiet sleep. "My drunkard lover lay like a corpse; he turned to the other side of the bed and spent the night in comfort quite undisturbed."

c11.63

Sexual intercourse with an expert partner had left a prostitute pleased and contented. "I found my handsome lover adept in the milder ways of love-making. He was soft-spoken and witty."

c11.64

A prostitute ridicules a clumsy lover: "He sat in the bed drinking and turning his face away He kept on breathing slowly and sweating profusely. His love-play was vigorous, yet he was fully awake after the satiation of his desire. I waited for the dawn trying to cope with that rustic and confused lover."

c11.65

A prostitute tells her friend, "Please listen to me. I will tell you how this yokel of a lover behaved today. As he made love to me I closed my eyes in ecstasy and the fool thought I was dead and so he bolted "

c11.66

A prostitute says, "Unaware of the customs of the country, and full of wickedness some Rajput troubled us."

c11.67

Disgraced by a public scandal a prostitute complains that the mayor forcibly dragged her before the city council and though it realized fees from her, it failed to administer justice

c11.68

A confidante watches a prostitute from Kerala drawing together her thighs Her body bore the marks of nail scratches. Obviously some man from the south had just slept with her.

c11.69

Sundarasena listened to the chatter of the courtesans. He made up his mind to live with Haralata. One day, however, when he was walking in the garden, he received a letter from his father. The father took him to task for this un-Brahman-like action of living with a courtesan. He asked him to come back home at once. His friend Gunapalita also advised him to return to Pataliputra. Sundarasena decides to obey his father's command but fears that Haralata might die in his absence. At the time of departure Sundarasena and Haralata bid each other farewell in a most loving manner She accompanies him to a banyan tree and says goodbye to him. A traveller coming from Abu overtakes them on the way and informs him that Haralata lay dead under the banyan tree Sundarasena swoons when he hears this. When he regains consciousness he and his friend Gunapalita return to the spot where Haralata lay dead. Sundarasena and his friend perform the funeral rites and then return to the forest to lead a life of celibacy and penance.

c11.70

After recounting the story of Haralata, Vakarala delivers a lecture on the selfishness and perfidy of courtesans. She describes the means they should adopt to seduce lovers.

c11.71

A courtesan should simulate fatigue in the morning and praise the passion of her lover. She must entreat him to number her as his maid. After gaining the confidence of the servants of her lover, she should accuse him of trying to woo other girls, of speaking in a whisper to one or allowing his eyes to rest on the body of a third, or pulling the borders of the garment from the body of a fourth, or of using a bye-lane to meet a fifth The courtesan should seek the help of her mother to extort money from the lover. In his hearing the bawd should reprimand her daughter for leaving the son of Bhatta Ananda who was very generous with his money, or for insulting the stupid but munificent Keshavaswami. She should scold the daughter for not heeding the attention of the Superintendent of Customs who enjoyed a steady income. Why did she throw out Prabhurata, the only son of an aged, rich and sick father? Vasudeva gave all his wealth to her and she treated him with disdain She had kept at a distance the great painter Sarva. Did she not feel any sense of shame when she sees Chandravati wearing an ornament presented to her by the son of Madhusudana?

c11.72

The house of Manmathasena flourished because of the favour of Simharaja who had looted a whole village for her. Nandasena, son of the chief of Bhattis, robbed everybody and handed over the loot to Shivadevi. The Pasupata teacher Bhavashuddha had built a palace for her beloved Anangadevi The king can hardly manage to get a paltry one-fourth of the tax on merchandize because Narmada, the mistress of Ramasena, the Superintendent of Markets grabs most of it. The bawd admonishes her for making fun of the impotent Prabhusvami Ravideva accepted him for he was a favourite of the king The bawd deliberately mentions the lover who is in the room "How has this worthless fellow managed to get a hold on you?" She asks her, "Has he employed a charm? Is he a sorcerer?" She advises her, "A prostitute is unfit for sex life in childhood and in old age, and if she goes and falls in love when she is still young she is bound to end up begging "

c11.73

The girl puts on an act for the benefit of her client She vows that her love is so deep that she has no use for money and throwing away her ornaments she runs away. This show of love and these references to the sacrifices made by her for the sake of her lover raises the courtesan in his esteem He remembers a courtesan who gave up her life when her lover died on the battlefield. He recalls another who committed suicide after her lover's death; a third burnt herself to death after the death of her lover, a fourth threw herself in the fire when her lover turned a monk.

c11.74

He recalls the actions of many courtesans who were loyal to their lovers and who sacrificed their own wealth to save them. He decides to place his wealth at the service of Malati.

c11.75

Malati in order to win the favours of a lover must tell him what a wonderful lover he is. She must try to estrange him from his wife and relatives. But if all these stratagems fail she was to instigate her supplier to come out in the presence of the lover and demand from her the money she owed him. But if even this ruse fails to move the lover, then she must ask him for money to fulfil a religious vow. She must say that she wanted to worship at a temple as thanksgiving to the goddess who has secured her lover If all this failed she was to empty her house of all her belongings, burn them and then proclaim that she had lost everything.

c11.76

The lover must be completely deprived of all he had and then Malatī must get rid of him by insulting him in the presence of servants by not allowing him to sit by her side, by making fun of him and showing her displeasure during love-making.

c11.77

But even after getting rid of him she is expected to win back his favour if he managed to regain his lost fortune. In order to win his favour she was to remind him of the days he passed with her in the garden, the watersport she enjoyed with him She must relate to him how she was forcibly separated from him. The procedure must follow the ordained rule. And it must be with a view to extorting more money from him and then throwing him out again. In this context Vikaṟāla relates to her the story of Mañjarī—a story which throws interesting light on several aspects of a courtesan's life.

c11.78

The story begins with the son of a ruler named Simhabhaṭa He is visiting the temple of Shiva at Varanasi accompanied by some friends and attendants. A silken strip covers one-third of his forehead and fixes his hair in place His body is smeared with saffron paste. On his forehead there is an irregular *tilaka* of mustard seed; he munches betel leaves and wears earrings and a necklace; on his arm is tied a talisman set in lac and gold and on his wrist he wears a bracelet of coral and gold. He holds a cane and round his waist there is a sword and a knife. His body is draped in a soft cotton garment and his shoes crack as he walks

c11.79

An interesting conversation between the courtesans and their associates in the Gambhīreshvara temple at Varanasi is reported here. A rake is addressing a courtesan. "Is your brave friend in love with the temple dancer (*devadasi*) attached to Gambhīreshvara temple? Well, he is bound to face frustration within three years!"

c11.80

A courtesan is complaining about the talkativeness of a rake, "Suradevī, Chandravarma with his tall talks gets things done and draws the moon into his palm."

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A courtesan watches a rake as he follows a prostitute and observes, "Kuraṅgikā, I see Vasuseṇa following you, but you will learn in due course of time of his poisonous but sweet professions"

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Seeing a thug in the clutches of a prostitute, her confidante observes, "Harini, this thug Hara is proud of his roguish ways and robs everybody. He who is in the habit of writing one hundred and ten for one hundred finds himself submerged in Taralika's eddy."

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A courtesan watches the behaviour of a Dandi hermit and plans to get her desire fulfilled through him. "Well, this Kushakarma holds a cushion and a staff and is draped in an ochre garment. He looks sideways for he is afraid of touching others. He is asking people to get out of his way, keeping the vow of silence, seeking the refuge of Vishnu for the sake of salvation; under the pretext of watching Shiva, he gazes at women"

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A courtesan remarks on the stupidity of an amorous lover, "He steals glances; if he is found out he at once diverts his gaze. He utters some purposeful words, but when he is questioned he stammers. He does not want to leave his side, but he does not dare to be seen near her. In such a man desires preponderate, but there is hardly any brilliance."

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Watching a courtesan's passion for a wealthy person, her erstwhile lover addresses her in a fit of jealousy, "Those days are gone when I enjoyed your company. Now by your relations with the Pashupata teacher, you have turned a real mistress."

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A courtesan seeks out a rake. He is talking to a bevy of young girls. "Lolikadasa, until Naradevi returns from the well go on with your pleasantries in the company of these girls and keep on pulling at their garments."

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After worshipping Shiva, Samarabhata takes a seat which had been arranged by his attendants. Seated before him are musicians and dancing girls and bankers. The place is full of soldiers. After he had inquired about the welfare of the merchants and bankers, a bard sings a song in his honour. The prince acknowledges this tribute and then asks the dance master why the performance had not started. His reply throws some interesting light on the life of the dancers and actors of that period. He states that one could hardly expect a good dance drama when the actress spends her time with her lovers in drinking parties or else in expecting a new client. While she is in a theatre, an actress learns that her lover is waiting for her at home. She at once leaves the place under some pretext and goes home. Actresses are fond of meat and drink and men. They have hardly any enthusiasm for anything else. They have no interest in their art. But in spite of all this a dance master has to take the party round to earn his livelihood. Then he gives an account of actors and actresses who are to participate in the dance drama of *Ratnavali*. Manjari was to play the part of Ratnavali.

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The dance drama is over and it is evident that the prince is in love with Manjari. Naturally, the messenger-girl plays her part and brings about a meeting of the lovers. But as is to be expected she robs him of his wealth.

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Kshemendra (c. 900-1065) is one of the most versatile writers of Kashmir. He belonged to a very affluent family and spent large sums on religious endowments. He was a gifted poet and a literateur. He cherished the company of cultured people and was fond of music, dancing and drama. Kshemendra is chiefly remembered for his satires which are a direct criticism of the contemporary society. He ridicules the religious teachers and the popular religious cults of his time. Government officers, prostitutes and their clients, rakes and other low characters also come in for their share of criticism In depicting prostitutes, rakes and *goshthis*, Kshemendra follows the pattern set by Damodaragupta in the *Kuttanimatam*. The only difference is that the picture presented in his works is fuller. It is evident from his descriptions that the well recognized institutions of ancient India had already deteriorated in mediaeval times. The most humorous of Kshemendra's satires is *Samayamatrika* (the Breviary of a Bawd). It deals with the life and adventures of a prostitute.

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The story begins with a salutation to Kama and Kali. The purpose of the work is to offer some counsel to the courtesans and prostitutes. In the great city of Pravarapura which was the only home of Cupid, there lived a prostitute named Kalavati. Her firm breasts, the curve of her eyebrows and the black shade of her eyes proclaimed her prolession. One day she chanced to see from her house-top a fat and sleek barber He was bald and had glossy eyes, he cast glances around himself and was careful to avoid the betel that the courtesans spat out.

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Kalavati at once signalled to him to come up. He did so. He found her in a dejected mood, her head was resting on her palm, her hair was dishevelled, her eyes were without collyrium and her lips throbbed all the time. The barber asked her why her joyful zone had ceased tingling and why no sandal paste and sandal powder decorated her body. Had her rival betrayed her to the police prefect as a receiver of stolen goods? Had her lover married someone else and deserted her? Or perhaps having once presented clothes and ornaments to her, her lover had now taken them back? Or was it possible that like some Yaksha or a knave (*tīkshṇa*) he had begun tormenting her? Or had some cheat left her a beggar or bound her to his wishes by throwing a *Vaśīkaraṇa* magic powder on her hair? Is it possible that out of sheer enmity somebody had betrayed her hidden treasure?

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Kalavati replied, "Kanka, listen to my troubles. My mother Karbhagrīva, the keeper of my house and my wealth, was murdered by a wretched physician who administered mercury to her. She gulped it all. But even in her last delirious moments she dreamt of gold everywhere and kept asking me to pick it up. After her death powerful yet penniless lovers haunt my house and refuse to leave it. I am unable to cope with this state of affairs. I intend to go away."

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When he saw her shedding tears, the old barber said to her by way of encouragement, "Through sheer avarice you admitted to your house the physician, who spells the very death of prostitutes. When he goes out, he is like a hunter in search of prey; the rakes of their tribe salute him as the Lord of Death. Give up your sorrows and adopt a new mother for your house. A bawd in a house is like a tigress thirsting for the blood of her prey. These jackallike lovers give her a wide berth. Not for a moment can a sharper then settle in your house and stay there like a tame cat on the hearth in winter. When you are unprotected, rakes enter your house without any fear. This is the time for you to earn money because your youth once gone will not return. I advise you to adopt Kankali who knows how to bring all types of undisciplined men under her control !"

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In the Second Chapter of this *Samayamatrika*, Kshemendra describes the life history of the bawd Kankali. She was an inn-keeper's daughter. She was born at Parihasapura (now Paraspor). She was worshipped on festival days by citizens but she repaid them for the respect they showed her by stealing their ceremonial utensils. When she was barely seven she was sold as a slave at the market place (*hattatorane*). She wore conchshell bracelets and provided herself with false breasts (*sakuta-kucha-kanchuka*) and she carried on her profession. By her blandishments she ensnared a rich merchant who dealt in saffron. Once while he was in a drunken state, she robbed him of his gold earrings She then raised a false alarm and declared that she had been robbed. The lover was afraid of a scandal. He covered his head and fled from there.

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After that she equipped herself with rich clothes and ornaments. Kankali went to live at Shankarapura (now Patan). She carried on her profession there. Her house was always crowded with clients and she usually met people in gardens, in the houses, in forests or in inns. But she was afraid of the vengeance of slighted lovers and was obliged to seek shelter in private houses One day she kept an assignment with a lover in a temple and when he fell asleep she stole the ornaments of the goddess Gauri and disappeared.

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After this incident, Kankali settled at Pratapapura (now Tapar) as the mistress of a feudal chief. She began to thrive on meat and rich foods. She assumed control of his wealth and instigated her lover to fight with his relatives. When the lover was found dead in his father's grounds, she became the mistress (*avarodhita*) of his brother. Her beauty was on the wane and she took recourse to magic and sorcery to bind her lover under her spell. By a diet of fish soup, *ghee*, and onions she reawakened his sex appetite. When the lover incurred the displeasure of the king she left his house.

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She pretended to be a widow. She clad herself in white garments and reached Sureshvari (near Isabar) and there offered oblation to the gods. But she was always on the lookout for a victim. She soon managed to capture a rich cavalier. After some time her lover died. She threatened to enter the flames of the funeral pyre. She desisted from doing so when the king promised to make her the sole owner of the dead man's property. Because of her newly acquired wealth the officers of the state began to solicit her. She chose a clerk of the royal stables and helped him to fleece the master. He robbed people the whole day, then spent the evening enjoying good food and drinks. He slept heavily and in the morning took a bath in order to overcome the night's fatigue. Taking advantage of this state of affairs she began selling his property. After his death his sons tried to dissuade her from selling the house where they had lived but she went to the court. She bribed the pleader and managed to get a decree in her own favour. Fearing the vengeance of the sons she sold the house and left the place.

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Kankali's next area of operations was a Shakta monastery. She dyed her hair black and pretended that she was the wife of a merchant. She did this to raise her market value. She was arrested for receiving stolen goods. She was put into prison. But she lost no time in making friends with the jailor and ate good food like fish and cakes and drank wine in his company. One night while the jailor was asleep she set about the task of freeing herself from the prison. She bit the jailor's tongue with her teeth. The man could not cry out and he swooned. Breaking her fetters she escaped from the prison and that very same night she managed to reach Vijayeshvara (Vijbror).

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At Vijayeshvara another chapter in her life opened. There she gave out that she was the daughter of a minister. Her dissipated life had aged her, but she wanted to appear young. To gain her end, she raised her flat breasts, applied thick collyrium to her eyes, tied a silken scarf to her hair and veiled her face. Those were the expedients she used to attract clients. But one man curious to see her undressed just once, did see her and then refused to come back to her again. She now fell on evil days. She closed her house and she began soliciting men on the streets. She could no longer gain her livelihood and she joined hands with a Shaiva mendicant. They agreed to share the alms they received. In order to pass off as a female Shaiva mendicant, she smeared her body with ashes, applied collyrium to her eyes, wore a crystal and *rudraksha* necklaces round her neck and went on her begging rounds. But during a famine when the alms were scarce, she robbed her partner of some ceremonial implements and fled to Krityashrama.

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At Krityashrama (now Kitshom) Vihara she posed as a Buddhist nun. She donned saffron robes, carried a begging bowl and had her hair shaved. She gave all kinds of evil counsel to housewives. She tutored prostitutes, teaching them how to ensnare their lovers. She suggested to them formulae and quick ways of reaping gains from merchants. She imparted lessons in charms for the benefit of the foolish. She was carrying on in this fashion and became pregnant. When the child was born she did not hesitate to abandon it and go away.

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All these adventures in rural areas did not satisfy her. She decided to shift to the city again. As luck would have it she was employed as a wet-nurse for a minister's child. She put on a coral necklace and gold earrings and bracelets and used a shawl to drape her body. With good food her body regained its freshness. Once it so happened that as a result of her rich diet the child fell ill. The doctor prescribed light food for her and he gave her myrobalan juice. She continued to eat fish and paid no heed to the doctor's advice. She gave no thought to the welfare of the child and one night she stole its gold chain and fled.

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After this she started a goat-breeding ranch in a remote district and soon became very prosperous. But heavy rains caused the destruction of the flock and she was forced to abandon the ranch and go to Avantipura. She had with her just one rough blanket. Finding herself in greatly reduced circumstances, she began to think of ways of making a living. She began buying up cakes offered to Ganesha. She warmed them and sold them in the streets. She bought paddy from housewives tempting them with very high profits. They soon discovered that even their capital was lost. She also begged for money from house to house. Her plea was that she wanted to marry off her daughter. She used to sit outside gambling halls and sell false dice to the gamblers. She posed as a florist and received advance payments from temple clerks. Then she disappeared from the spot that very night. In the village festivals she did the work of distributing water and usually stole the bracelets of those who came to witness the theatrical performances. She pretended that she was an astrologer who could arrange marriages and detect thieves. She put on an act and people thought she was possessed by a goddess. She would forecast nothing but that did not prevent her from asking for gifts. She showed herself naked in the streets and dogs came and surrounded her. She pretended to be mad and called herself Kumbhadevi.

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She began to receive offerings. A minister who believed in prophesies put his faith in her She decamped with his silver utensils. In the festival of Takshaka she sold wine. She ran away with the silver bells of an intoxicated anchorite. After poisoning the wayfarers with *dhatura* mixed with honey she fled to Simhapura (Hurapur).

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Now Kankali was almost on the last lap of her adventures. She married a labourer of Lavanasarani or the Salt Path. While he slept she sought the company of others. One morning, she girdled her waist with a scarf and left the house. She carried a heavy load on her head. Then she crossed difficult paths in the mountains and snow-covered tracks. Posing as a respectable woman she arrived in the evening in a monastery situated in the Pir Pantsal Range. It was winter and she wrapped herself in a heavy blanket and soon left the place.

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Kankali was an irrepressible woman. She said she was a Brahman, an expert in Vedanta, and that she had roamed all over the earth. At one place she claimed to be an adept in Yoga. In another place she gave out that she had fasted for a month and at a third place she stated that she was on a pilgrimage. She gained the confidence of fools by saying that she was possessed by the spirit of a God by employing magical incense She gained access to the royal palace and won the confidence of the king She assured him that she could stupefy an army by her knowledge of magic However, she took to her heels on the eve of the battle

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In the course of her adventures Kankalı received money from many merchants She spoke of a pilgrimage to Kedara, Gaya and Varanasi on their behalf She pledged to them all the merit accruing from such visits She sold at cost price to her disciples ordinary beads from China and made out that they were real rudraksha beads. She also said that she had the power to enter the nether world She received money from credulous fools, and threw them into blind wells She pretended to be a doctor with a knowledge of poisons and their action She tied necklaces of smooth beozar stones around the necks of her patients. At all the custom-houses she managed to give officers the ship by offering them a flower which deadened their senses

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As the days rolled by Kankalı made taller and taller claims She announced to the people that she was more than a thousand years old and that she was an expert conversationalist and her knowledge of life was unique. By such claims she reduced a Thakur to the position of a dog licking her feet Stories of her adventures spread to the lands of the Kambojas, the Turks, the Chinese, the Tırgarttas and to Bengal She won acclaim everywhere.

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After roaming all over the world she decided to return to her own country out of sheer love for the place. There instead of revealing her identity, she posed as the daughter of a deposed king She said she was an accomplished linguist and well-acquainted with the customs of the people But the barber recognized her because of her maimed fingers and the blue mole on her forehead. He advised Kalavatı to adopt her as her mother.

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The Third Chapter begins with the description of the quarters of the courtesans It was just after sunset. The smoke of frankincense and *agallochum* rose from the houses and lamps were lit everywhere. As soon as the moon rose, a festive spirit prevailed in the whole quarter. The *vitas* hoping to get free drinks began assembling in the lanes where the houses of the courtesans were situated. The bawds stood at the doors of their houses to receive advance money (*grahana*) from clients and even the slightest sound made them alert. The bedrooms of the prostitutes were being cleaned. The courtesans were sweeping the litter left by the day clients. They were getting the rooms ready for the others. The courtesans talked among themselves, "How can you charge a second client for the whole night? The first one has already paid you."

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The foreign *goondas* folding up the garments on their abdomens started to quarrel among themselves. A bawd had already received advance fees from two clients and made herself scarce when a third one approached her. Some courtesans bemoaned their fate. Their regular customers had not yet come and they had to refuse new clients. Some others flattered the lovers who had been fleeced earlier but had now become affluent again. They slandered their bawds and held them responsible for what had happened. Some other bawds were engaged in an uproarious quarrel with clients. Strumpets (*kshudra*) finding their own houses occupied by drunken clients were now on their way to the houses of their friends in the company of their lovers. Some under the pretext of calling out to the kittens were trying hard to attract their clients by their coquetry.

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A strumpet was telling her mother that one of her lovers was inside the house, the second waited outside and the third had just arrived. She wanted to know what she ought to do in such a case. The night was long, and the lusty young men visiting her were quite new to the game. What was she to do? A girl unable to find a client was ashamed of herself and told the rest that she did not accept fees (*bhati*) for fear of the Muslim singers (*Mlechchha gayanah*) who wandered the streets. Some of the women feigned headache and stomachache to avoid the lovers they did not want to meet. Bawds sang the praises of those generous clients from whom they expected permanent benefit, so the clients had to increase their gifts tenfold to match the wealth of new visitors.

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