The Kama Sutra: Part II Chapter 7
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CHAPTER VII
OF THE VARIOUS MODES OF STRIKING, AND OF THE SOUNDS APPROPRIATE TO
THEMSEXUAL
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 shouldersThe headThe space between the breastsThe
backThe jaghana, or middle part of the bodyThe sides
Striking is of four kinds:
Striking with the back of the handStriking with the fingers a little
contractedStriking with the fistStriking 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 HinThe thundering soundThe cooing soundThe weeping
soundThe sound PhutThe sound PhâtThe sound SûtThe 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 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.'
The wedge 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.'
Footnotes
1
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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