Book of Love 1st Edition Aakash

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 श्री गणेशायः नमः

Book Of Love
Understanding Ancient Hindu art of lovemaking

Compiled by
AAKASH SHUKLA

2
 श्री गणेशायः नमः

BOOK OF LOVE
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First published : 2023

Copyright© Aakash Shukla
Email : Aakashshukla1992@yahoo.com
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ISBN : 979-83-86179-32-8

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Book & cover design by: Aakash Shukla

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3
 Contents
Forward
Introduction Page no.
1 Art of love making 35
2 Three stages of life 37
3 The art and sexual sciences 41
4 The social and sexual sciences 45
5 Types of women for sensual pleasure 51
6 Auspicious physical signs 55
7 How to choose a man for marriage 59
8 Astrologiacl matching before marriage 63
9 Conduct in negotiating marriage 69
10 Winning the confidence in the wife 71
11 Courtship of young girls for marriage 77
12 Conquest to win sweetheart 83
13 Forms of marriage 87
14 The classification of women 91
15 Classification of various types of women 95
16 Modern understanding of various type of women 103
17 Choosing correct time and method for manuplation 108
18 Classification of unions 115
19 Various symptoms of a woman 120
20 Classification of sexual unions by Vatsayan 123
21 Different erogenous zones for different days 129
22 The art of embraces 131
23 Technique of kissing and Keshgrahna 147
24 Sensual scratching and nail marking 153
25 Erotic biting 159
26 Customes and practices in love play 161
27 Attitudes in sexual communion 163
28 Different postures for coition 169
29 Stroking, striking and erotic articulation 203
30 Reversed intromission 207
31 Categories of passion, Auparishtaka or congressio in ore 215
32 The duties of a wife 225
32 A husband with many wives 231
33 Character of men and women 237
34 Approaching another man’s wife 241
35 Disposition of a woman 243
36 Duties of female messenger 245
37 Enjoying another man’s wife 249

4
38 The ways of royal ladies 255
39 The ways of prostitute 259
40 Simulating devotion 263
41 Extracting money from lover 267
42 Repairing broken affair 271
43 The different kinds of gain 275
44 Types of prostitutes 279
45 Instructions by Vatsayan 285
46 Vashikarna 302
47 Recovery of lost passion 307

Conclusion

God Shiva and Godess Parvati getting

married.
Wall sculptures at Ellora Caves,
Maharastra, india

Lord Shankar and Parvati are

considered to be the symbol of
unbroken good fortune, that is, the
love of husband and wife who are
devoted to each other is considered
immortal.

A ‘Kamasutra’ Sanskrit laguage manuscript

preserved page in the vaults of the Raghunatha Hindu temple
1680 AD, Jammu and Kashmir, India

5
 Couple having coition
Detail from cave painting,
8000 BC Bhimbetka, madhya pradesh, India

स्त्रीणाांद्विगण
ु अहारोलज्जाचाविचतग
ु ण
ु ा ।
साहसांषड्गण
ु ांचैिकामश्िाष्टगण
ु ः स्त्मत
ृ ः ॥

“The diet of a female is twice that of a

male. Shyness is fourfold. Courage is
sixfold and, the desire to have sex is
eightfold.”

अध्िाजरा मनष्ु याणाां िाजजनाां बन्धनां जरा ।

अमैथुनां जरास्त्रीणाां िस्त्राणामातिोजरा ॥

Traveling a lot makes a man grow old

quickly. By keeping it tied, the horse
becomes old. A woman becomes old if she
does not have sex, and if clothes are kept
in the sun, they become old. That's why a
man should avoid traveling too much, the
horse should be kept open. A woman
should get sexual pleasure again and
again. And the clothes should be dried in
the shade.

6
Various states during Vatsayan period :

1. Kamboja 6. Kosla 11. Kasi 16. Avnati 21. Asmaka

2. Gandhara 7. Malla 12. Magadha 17. Kachha 22. KaLinga
3. Kuru 8. Vriji 13. Anga 18. Surastra 23. Dakshinpatha
4. Matsya 9. Surasena 14. Vanga 19. Vidharbha 24. Andhra
5. Panchala 10. Vatsa 15. Chedi 20. Mulaka

7
8
POLITICAL MAP OF MODERN INDIA WITH PROVINCES (STATES)

9
 श्री गणेशायः नमः

िितण्
ु ड महाकाय सय
ु क
ु ोदट समप्रभ,
ननविुघ्नां कुरु मे िे ि सिुकायेषु सिुिा ।
“I pray to Lord Ganesha, the originator of knowledge, who is
as radiant as millions of suns, and has a large body with a
curved trunk, to bestow success in all endeavors.”

दिक्कालाद्यनिजछिन्नानन्तचचन्मारमत
ू य
ु े ।
स्त्िानुभूत्येकमानाय नमः शान्ताय तेजसे ॥
“Obeisance to the Supreme Being, who is infinite and conscious,
knowable only by self-experience, who is peaceful and effulgent,
devoid of the boundaries of directions [east, west shradi] and time
[past, present and future], etc.”

शांभस्त्
ु ियम्भह
ु रयो हररणेक्षणानाां
येनाक्रियन्त सततां गह
ृ कमुिासाः ।
िाचामगोचरचरररविचचरताय
तस्त्मै नमो भगिते कुसम
ु ायध
ु ाय ॥
“Who has made Brahma, Vishnu, and Shiva perpetual slaves to do
the housework of wives with eyes like those of deer. Salutations to
that God Pushpayudh [Kamdev] who appears to be so strange
that nobody can describe.”

चूडोत्तांससतचारुचन्रकसलकाचञ्चजछिखाभास्त्िरो
लीलािग्धविलोलकामशलभः श्रेयोिशाग्रे स्त्फुरन ् ।
अन्तः स्त्फूजुििारमोहनतसमरप्राग्भारमुछचाटयां
श्चेतः सद्यनन योचगनाां विजयते ज्ञानप्रिीिो हरः ॥
“Illuminated by a resplendent crest like the moon's crescent, which
appears to be a jewel on the head, the one who destroys the lust-god like
moth [kamdeva], the one who inspires in the path of welfare, the one who
destroys the darkness of temptation sitting in the heart Glory to Shiva, the
lamp of knowledge in the heart-temple, sitting in the heart-temple of yo-
gis”

10
 A man enjoying six women simultaneously
590 AD, Stone sculpture on the outer walls
Sathyamurthi Perumal Temple
thirumayam , Tamilnadu

11
 FOREWORD
The Hindu art of love
A mighty demon Tarakasura did penance to Brahma, the creator of the universe. Pleased with
Tarakasura's hard penance, Brahma asked him to ask for a boon. So he asked for two boons. First,
no one in the entire universe can defeat him in battle. Second, the boon of being immortal. Brahma gave
the first boon but refused the second boon saying that the one who is born in the world must die. Then
the clever Tarakasur asked Brahma for a boon that only Shiva's son could kill him. Clever Tarakasura
knew that Shiva is the god of destruction, his work is to destroy and not to create. Tarakasura also
knew that Shiva's wife Sati had dedicated herself to the fire. And Shiva has been following celibacy for
thousands of years, so it was not possible for him to have a son. Brahma gave him both the boons. As
soon as he got power, Tarakasura attacked heaven and won it. All the gods were made slaves. It was a
victory of evil. Tarakasura declared himself the king of heaven and started running his rule over the
whole world.
He was filled with pity after hearing about the pain of the gods. Kamadeva(god of love) and Rati
(goddess of sex) promised that they would instill in Shiva a feeling of love and attraction for Parvati.
Parvati was in reality the reincarnation of Sati, the former wife of Shiva. Parvati had been trying
for thousands of years to get Shiva back as her husband but was unsuccessful. Then Rati shot the weap-
on of sex at Parvati with her flower arrows and sugarcane bow. Due to this Parvati became restless to
get Shiva. On the other hand, Kamdev with his bow created the excitement of coitus inside Shiva. Filled
with anger, Shiva killed Kamdev. But Kamadeva's arrow had hit inside Shiva. That's why Shiva yearned
to meet the woman. Then all the deities together got Shiva and Parvati married. Parvati who is mother
power. The manifestation of the earth. His work is to develop and expand the universe. Parvati was
eager to meet Shiva for thousands of years. So when Parvati and Shiva met, it continued for a thousand
years. During the cohabitation of Shiva and Parvati, their gatekeeper was Nandi who was appointed by
Shiva. Parvati's order was that no one should be allowed to come to Mount Kailash during the
meeting. Parvati wanted complete solitude at the time of cohabitation, so the gatekeeper Nandi stood
outside the cave of the meeting place.
During this period of 1000 years, Nandi , the eternal follower of Shiva(Mahadeva) learned the secret
of erotics and composed it into 1000 chapters. later the work was known as kamshastra. Kartikeya
was born from the union of Shiva and Parvati. On growing up, Kartikeya took over the leadership of the
army of the gods and killed the demon Tarakasura. And thus again good won.
This knowledge of Kamashastra received by Shiva reached humans through Nandi. Since there was no
method of writing three thousand years ago, that knowledge was engraved on the walls of Shiva
temples through stone paintings. The medium of Shruti (listening and understanding) and Smriti
(cramming and memorizing) was used to pass on knowledge from one generation to another. Hindus
passed this knowledge on to the next generation by listening and cramming. But in the meanwhile that
knowledge was destroyed due to foreign invasion.
In AD 210, the king of Ujjain was Abhira. He was the supreme devotee of Shiva. By the grace of Lord Shi-
va, his empire extended up to Vindhyachal in the east and Sindh in the west. There was prosperity
all around his kingdom. Urban life with its excellence was developing in Ujjain. Trade extended as far as
Bactriya in the west and the country of Kamarupa in the east.
In the king's court, there used to be a gathering of the country's famous writers, and scholars,
knowledgeable in all kinds of fine arts, best masters of weapons, and scholars of all branches of
knowledge.
One day the king was sitting in his court. All the scholars were busy discussing state affairs. Just then a
12
very beautiful young lady entered the court. She was completely naked, there was not even a single
cloth on her body. Seeing that beautiful woman, the king, soldier, commander, scholar, and
businessman present in the court were stunned. The soldiers tried to take that woman out of the court.
The king stopped them. The king asked the reason for the woman coming to the court and thus
questioned the naked display of the body.
The king offered him clothes, money, and food. But the woman refused. Then the king ordered him to
get dressed. But the woman said that there is no man in your kingdom. Her husband is unable to give
her physical satisfaction. She is not satisfied even after sleeping with thousands of men. A man is a man
till his own ejaculation. So she has decided that she will remain naked till she gets complete satisfaction
physically.
If there is any man in your kingdom, please satisfy me. If I am not satisfied physically, then he should be
beheaded for insulting me. The king looked at the minister, the scholars, the soldiers, and the wise, and
all started looking at each other, but after listening to the condition set forth by woman, they did not
dare to come forward. they didn't even trust themselves.
At last, the woman proposed cohabitation to the king. The king was already nervous after hearing about
her condition. He felt humiliated in front of all the royal courtiers. So he asked the woman for a day.
In the morning the woman challenged all the men again. Meanwhile, a young man suddenly appeared in
the court and offered to satisfy the woman. The man put a condition that whatever part she would be
satisfied with, he would pierce that part with makeup or jewelry. The woman accepted the condition.
What the blind want is two eyes. The king happily arranged for both of them to stay in the palace. The
naked woman stayed with the man for sixteen nights and seventeen days. On the seventeenth day, that
woman appeared in the court. There were expressions of satisfaction and happiness on the face of the
woman. Her face was flushed and her cheeks were red with shame. She was covered from head to toe
with clothes. There were sixteen adornments on his sixteen sex organs.
A woman satisfied with sex hides her body. And the unsatisfied woman displays her organs. This is the
universal truth. There is no other logic behind physical nudity. Even if a man forces a woman to wear
full clothes because of his arrogance and ego. The open body of a woman is her declaration that she is
unsatisfied.
Seeing the woman, the king asked her whether she was satisfied. The woman nodded her head yes.
Then the king asked where is that man. The woman told that he left with the sunrise. The king asked
the woman her name. The woman told her name was Kuttani. The king asked the man's name. The
woman told the man's name was Nandi. The king understood that Shiva himself had sent Nandi, who
was a great scholar of Kamashastra, to help him. The woman asked permission to go. The king was
about to permit her, but nine learned ministers sitting in the royal court stopped him from doing so.
The king wanted to know the reason from the minister. So the learned ministers told that if other wom-
en demand the same satisfaction as this woman has demanded, then nudity will spread throughout
the whole state and families will be destroyed. Because an adulterous woman or a woman without
character and having intercourse with many men gets sexual satisfaction but publicly humiliates her
husband, family, sons, and her children.
The king asked the ministers what they wanted. The ministers expressed their desire to spend a
fortnight with the lady. The king was surprised. Then the ministers told that they wanted to know the
ways to satisfy the woman by Nandi. So that the kind of insult that has happened to them, should not
happen to any other man in the future. They want to record the knowledge of Kamashastra. The king
gave permission.
Then Acharya Vatsayan, who knew the Sanskrit language and culture of many states, was called in Uj-

13
 jain to script the whole knowledge. That woman named Kuttani told the secrets of coitus to 9
different ministers. These ministers were Vabhravya, Svetaketu, dattak, Charayan, Gotanmukh,
Gonardiya, Gonikputra, Suvarnabha and Vatsayan. Vatsayan had written them down. Which is called
Kamasutra.
Around the 8th century, barbaric, foolish, and uncivilized tribes of Central Asia who followed Islam
invaded India and looted many states. Since Islam forbids any type of depiction, many temples
associated with Shiva were demolished. Due to this, the important work related to Kamashastra was
destroyed. In course of time, this knowledge of Kamashastra which was written down by Vatsayan in
the form of Kamasutra disappeared from the common scene. Because it was very difficult to preserve
this book during the Islamic invasion. Therefore, it was divided into different parts and sent to Kashi,
Nasik, Mathura, Khajuraho, Puri, Kashmir, and to pandits or prostitutes in different parts of the country.
But in course of time, those copies also got destroyed.
The reason for the little knowledge that was left of Kamshastra was the prostitutes, the knowledge of
Kamasutra was important for their living. Around the 58 th century, when western explorers were taking
care of the ancient heritage of India, people like Richard Burton made kamsutra (Kamashastra) availa-
ble to the general public.
It may sound mythological but Kamashastra is a very deep and essential subject. It should be seen as
basic knowledge.
Ancient sages have fixed three goals of life, Dharma, Artha, and Kama. Without these three life is
useless. The Sanatani Hindu person who does not perform these three duties of life is a fool.
It is Dharma to acquire general practical knowledge in the early years of life. Knowing your behavior,
lifestyle, what will be your goal is religion. To develop the ability to decide the purpose of life in the ear-
ly years of life is dharma. To develop the ability to take decisions is religion. Religion is to acquire the
knowledge of mythological texts that provide ethical guidance in complex situations of life.
Knowledge of language grammar is religion.
Artha means the acquisition of wealth. After gaining knowledge, it is the duty of a person to earn money
so that he can serve his old parents. So that he can fulfill the needs of his wife. So that he can manage
the education of his children. So that he can do other social work.
To run family life smoothly, it is necessary that there should be discipline in the family. Discipline in
children comes through parents. Especially from the mother's side. The mother can be disciplined only
when she is happy with her husband. A husband can keep his wife happy only when the husband has
knowledge of Kamashastra. That means he knows how to keep a woman physically happy forever.
Therefore, for family stability, it is necessary for a man to be well-versed in sexology. This knowledge is
not necessary for a woman unless she is a prostitute. Yes, if a woman wants to earn money by selling
her body, then it is necessary for her to have knowledge of Kamashastra.
Vatsayan, like the ancients, recognized three great objective of life -Dharma, Artha and
kama-Religion, material prosperity and sensual pleasure. As the first two had been dealt with by other
authors he proposes to deal with the third. A balanced pursuit of the entire three objectives conduces
to the progress and preservation of mankind and hence the necessities of taking into account also Kama
- the sensual pleasure.
Vatsayan's works provide vital information on the social life of ancient times. Vatsayan
mentions the sexual habits and customs of different people. In this he shows greater acquaintance with
the customs of the people in the west- such as Bathika (Bactria), Vidarbha, Malava, Avanti, Maha-
rashtra, Abhira, Sorashtra, dakshinpath, Vanavasa, kuntala etc. Except Bactria all these palaces
are in western or southern India (specially its western coastline). This makes it probable that Vatsa-

14
yan lived in western India and most probably at Ujjain (central india), The ancient capital of
Avanti, which was during the Gupta period a great centre of literary activities. The most important
trade route from Bactria and North West India passed through Ujjain up to the greatest port of
Northern India-Bharukachcha (Broach). For the same reason Ujjain was also connected by land routes
with other important cities of Northern India. This contributes largely to the opulence of the city and
must have attracted Nagarakas (citizens) of the type Described by Vatsayan, fashionable and do
nothing people in possession of much wealth without having any heavy burden of social or official
obligations, to discharge and leading the life of libertines. This was possible only in a cosmopolitan
town situated on a trade route that connected it with distant countries overland and across the seas
The society depicted by Vatsayan was much different from the modern society. To be a fash-
ionable man it was not necessary to have more than one wife but it was impossible to be so without
having mistresses. The right fully married wife had great responsibilities. “She attends on her husband
with all the love and devotion, a devotee shows to the deity she worships. She ministers to his personal
needs, looks after his food and drink , as well as his toilet and his amusements; she appreciate
his like and dislikes, welcomes his friends with proper presents, respect and loves his parents and rel-
atives and is liberal to his servants. When she finds that he is coming home, she hastens to meet him
and waits upon him herself, in his games and sports she follows him, even when offended she does not
speak too bitterly to him. She may attend a festive assembly only with his permission and in the
company of her friends. She does not give away anything without his knowledge. She should do nothing
that might rouse his suspicion against her fidelity. She should avoid the company of women of
questionable character.”
The courtesan or the ganika played the most important role in the fashionable society for which
Vatsayan was writing his Kamasutra. She was esteemed by the public. She was even honoured
by kings and praised by leaders of fashion. She attracted them and was visited by them. There were also
so many nouvcaux riches who were imitating the manners of the fashionable people in this respect. The
fashionable life of the day centered on these ganikas.
This was not without reason. The courtesans (Ganikas) had to learn in a compulsory manner
the sixty-four arts. They were imparted this education from their early age. There is a description of
these sixty-four arts in chapters III. From the list it appears that the type of education they received was
very broad. It included not only music and dancing but also Anesthetics. So far as it was applied to
dressing, but also use of jewellery, decoration with flowers, etc, cooking, acting, some sort of plastic art
and, besides, good literary education. Sports were not excluded from the curriculum. A woman with
such education was sure to be very fashionable, capable of pleasing fashionable people of all status.
Respectable women were not required to learn the art of pleasing their husbands except in case
when their husband might want it. The art was, however, generally intended for the ganika and those
helpless women who would like to make a “comfortable living in strange places by virtue of this art.”
The hope of comfortable living, kept and maintained the strength of the number of ganikas. But
fortunately the fashionable people of Vatsayan did not represent the whole society of those days. We
knew from contemporary literature that there were others who by virtue of the ideal life they led, by
their good taste and by aversely to libertinage maintained the balance of good society. This contrast
clearly brings out the true nature of the society for which, the Kamasutra were written. It also throws
light on the literature developed in all periods of history of India.
If seen in a wider context, such things are also mentioned in Kamasutra which are purely political or
medical. It is clear from this that Kamasutra was like a text book to prepare courtesans or spies to spy
in other states. Since beautiful women were considered public property at that time, they were called

15
 Nagarvadhu or Citybride. These Nagarvadhu had the protection of the state. Anyone could get
company of Nagarvadhu by paying amount. These courtesans or nagarvadhu were considered public
property. Kamasutra also describes the society where this knowledge could be used.
Only the most beautiful and graceful women of the society were made courtesans. And their beauty and
youth were the first to be enjoyed by the king of the kingdom. Therefore courtesans or Nagarvadhu
were prepared at the expense of the state. She was proficient in music and 64 arts. Nagarvadhu or
courtesans are the heroines depicted in Indian architecture. Courtesans skilled in music were called
Yakshi. The courtesan reserved only for the king was called Apsara. There was a provision of Nayi-
ka for special people. Nagarvadhu or city brides for the common people.
On behalf of the state, the girls were well versed in all kinds of knowledge and were sent to other states
as dancers or artists. These spies used to gather information using the knowledge described in Ka-
masutra. Kamasutra also describes social traditions and social system, in reality Kamasutra is like a win-
dow through which we can see the society of that time. Along with this, you can also study a specific
aspect of history. Kamasutra prepares the youth for the future. So that they don't have to be humiliated
in front of men or women.
The experience of sexual intercourse is very pleasant, but the intensity or passion of a man is like a raw
coal, which burns to ashes at the sight of a match. What about the experience of a woman?........It is
necessary for a man to be experienced . Therefore, to prepare the man in the Indian society, there was a
system of courtesans and nagarvadhu. Young men used to learn all the arts of sexual intercourse from
these prostitutes or town brides.In order to remain in sexual intercourse for a long time, it is necessary
for a man to be familiar with the female body. Courtesans or city brides used to give this experience to
men, so that men do not ejaculate prematurely in excessive enthusiasm during female intercourse.Men
who last longer in intercourse are often dearer to their wives and they take care of him with more
affection. Satisfied women are always loyal in relationships.....this is true, true, true.
By reading this book, you also know the truth and prepare yourself for the future.

उिित्ृ तः स्त्तनभार एष तरले नेरे चले भ्रल

ू ते रागान्धेषु तिोष्ठिल्लिसमिां कुिुन्तु नाम व्यथाम ।
सौभाग्याक्षरिांजक्तरे ि सलखखता िष्ु िायध
ु ेन स्त्ियां मध्यस्त्थावि करोनत तािमचधकां रोमािसलः केन सा ।।
“ These bulging and round breasts of yours, eyes playful with the hope of coitus, eyebrows
stretched with lust and red like a new leaf Lips, beautiful soft body, full thighs, swaying
waist, Kamdev(Cupid) himself has made you, but why are you troubling me? ”

तस्त्याः स्त्तनौ यदि घनो जघनां विहारर िक्रां च िाह ति चचत्त क्रकमाकुलत्िम ् ।
िण्
ु यां कुरुष्ि यदि तेषु तिाजस्त्त िाञ्िा िण्
ु यविना न दह भिजन्त समीदहताथाुः ॥
“ O mind ! If the breasts of that young girl are very strong and dense
(adjacent), her thighs are attractive and worth riding, and her face is
also beautiful, then why are you troubled? If you want to get it, then do
good deeds because desires are not fulfilled without good deeds. ”

........ See some of the most beautiful Nymph or Ganika sculptured in stone for your delight.

16
 A beautiful Ganika
Dariyaganj yakshi

A mouryan period sculpture in

Patna museum.

Yakshis are supossed to be master

of music, dance, art, kamkala,
masters of fashionalble cloathing
and faminie style like modern
fashion models.

A Ganika in her best form, beautiful

hairstyle,voluptuous breasts, adornment
full of ornaments, baanki chori
TRIBHANGA
( folded in threeplaces) Salbhanjika

A Ganika churning her body A Ganika holding a Tree branch A Ganika leaning against the en-
known as Gunthana. A sculpture known as Saalbhanjika. A sculpture trance door Known as Torna pos-
from temple of Odisha. from temple of Odisha. ture. A sculpture from temple of
Odisha.

17
 A Ganika making some gesture with earrings and another one fixing her earrings in the

A Ganika fixing her hair and another one applying kajal looking at the mirror.

18
 Ancient Indian society was more liberal towards sex than the West. The outlook of Hindu
society was balanced and healthy in almost all spheres of life. Before the Islamic invaders, there was no
such thing as the purdah system or discrimination between men and women in Hindu culture. Hindu
society was pluralist and more egalitarian. Before the invasion of the barbaric and uncivilized Islamic
forces of Central Asia; art, culture, science, music, and fine arts were highly developed in Hindu society,
and sculpture touched its infinite heights. The expansion of Hindu culture was not local but extended to
Myanmar in the far east and to the borders of Kandahar and Iran in the west. At the same time, there was
an expansion of Hindu culture from Kashmir in the north to Rameshwaram and Sri Lanka in the south.
An example of this can be seen by looking at the following stone artifacts that Hindu culture has been
far more open-minded than the West.

4
19
 5 7

1. Ganika, Vidisha museum, Madhya pradesh, India

2. A beautiful female diyata faizabad, banaras museum 1-10 AD
3. A beautiful padmini ,Suhaniya, morena,1000 CE, Bhopal museum
4. Male head, Bodhgya 99-100 BC
5. A Ganika with parrot, Sakrigali sahibganj, Jharkhand,600 AD
6. Surasundari (Bartender), Vidisha museum, 900 AD
7. Surasundari (Bartender), Vidisha museum, 1000 AD
8. Surasundari (Bartender), Vidisha museum, 900 AD

20
 Couple in love, 600 AD,Vidisha museum , India Couple making love(Mithun),
700 AD, Khajuraho, Bhopal museum

Mithun, 876 AD, Vidisha muse- Mithun, 876 AD, Vidisha muse-
um, Madhyapradesh, India um, Madhyapradesh, India

21
 Mithun, 1100 AD, patna museum, Bihar, India Mithun, 1100 AD, patna museum, Bi-
har, India

Shiva-parvati, maharmau,unnao, 600

Nag-Nagini in love, 800 AD, Patna museum AD Patna museum

22
 Most surprising is the instruction given by Vatsayan for going to parties which suggests some
unspoken rules or conventions similar to those of the modern elite. The scenario described by
Vatsayan is exactly like that of the modern age. The way actors keep their staff to go to parties, some
description is found in Vatsayan's Kamasutra.
Where a gentleman cannot Procure Company or would not mix with the available gentry, he
should keep a suit of followers according to his means in order to keep up the traditional state of a
gentleman. Where a gentleman is the master of an establishment, his mistress will be either his wife or
a courtesan; but where the principal party is a woman (either a wife, a widow or a courtesan), the order
will be reversed i.e. the women bill act as if she were a gentleman and the object of her attentions will
be a gentleman. The attendants in that case will, accordingly, differ in sex, a gentleman's Retinue
(serving staff) consisting of males and women's retinue, of females. The foregoing describes their social
and individual duties.
The attendants of a fashionable gentleman will consist, firstly, of the Pitamarda (itinerant tutor
of fashion and a sort of professor of all the arts), who is without any wealth or possessions, and, having
no wives and children to look after (i.e. being alone in the world) has only himself to care for. The only
furniture in his possession is a stool (shaped like the letter T, called Mallika), and as he is by no means
in different to cleanliness, he carries with him some shampooing material and cosmetics. Such a man is
a traveller from a country reputed for its culture of arts and is himself an expert in the 64 arts (Chapter.
3) and the science of sex. He earns his livelihood by giving instructions on the arts of social gatherings
(gosthis) and by teaching prostitutes the rules of professional conduct.
The second class of men in a gentleman’s retinue is the Bita;2 professional companion
(sometimes he may be a prostitute procurer and pimp). He is one who possesses the qualifications for
leading the life of man of fashion, yet has squandered away all his fortune in quest of pleasure and has
consequently lost his claim for being considered a beau. He has a family to maintain. He is capable, by
reason of his previous experience as a man of fashion, of giving authoritative opinion on many matters
at social gatherings and assemblies in courtesan's residences and, in fact, maintains his livelihood by
attaching himself to courtesans and gentlemen.
2 A bita, in short, is a prostitute’s procurer and pimp.
The third class consists of Vidushaka, the Buffoon or jester. He has a deep knowledge of
particular section of music, is a good player, and enjoys the confidence of both gentlemen and their
mistresses. He is either born poor or has squandered everything he had.
All these persons are employed as advisors in amorous liaison by both gentleman and
prostitutes. Mendicant woman, female barbers, adulterous and Barren wives (who have, because of it,
been forsaken) and superannuated prostitutes are also employed as such.Country people should
encourage intelligent and inquisitive co-villagers to discuss the splendid mode of living of townsfolk
and should follow it in a respectful frame of mind. They should also nstitute social gatherings in clubs
etc., and should please the people by spending money. They should oblige fellow villagers by helping
the latter at every turn and by trying to oblige others as far as possible with their assistance in various
matters.At a social gathering (Gosthi), a man of fashion should not speak too much in Sanskrit lan-
guage, nor should he speak too much in the vernacular. Judicious use of both dialects will bring him
reputation. The wise will not join those gatherings that are not approved of by the elite, are convoked in
a partisan spirit and are devoted to fault-finding and scandal-mongering. By participating in gatherings
that conform to the wishes of the people, are meant for public entertainment and are devoted to
pleasant pursuits, a learned man can succeed in being the beloved of men and women alike.

23
 A Couple in a religious gathering. A scuplture from karla caves, Maharastra state. 200 BC

A couple in a socio-religious party. drinking and dancing. A wall culpture from karla caves,
Maharastra State.200 BC

24
Sculptures depicting social
life

All from Khajuraho temples

walls, Madhya Pradesh,
India

25
 Sculptures depicting
social life in medievel
India.

Terracotta temple,
bishnupur, west bengal
(Top)

Kantaji temple,Dinajpur
Bangladesh (Middle)

Navratna Temple,
Bishnupur, West Bengal
(Below)

26
 9 11

10

9. Beautiful nude courtsean, Kushan Empire, 2nd century AD

12 10. A Padmini kind of lady in Gwalior museaum 3rd century AD
11. Beautiful nude courtsean, Kushan Empire, 2nd century AD
12. A lady streatching herself, 800 AD , Khajuraho, India

जस्त्मतेन भािेन च लज्जया सभया

िराङ्मुखेरर्द्ु कटाक्षिीक्षणैः ।
िचोसभरीष्याुकलहे न लीलया
समस्त्तभािैः खलु बन्धनां जस्त्रयः॥

“Beautiful women make a man a slave

by spreading soft smiles, blushing,
sarcasm, pretending to be afraid, by
sidelong glances, by fighting or by
giving him pleasure.”

27
 A Beautiful Nymph, stone sculpture,700 AD,
Shri Bhuvaraha swamy Temple,
Shri Mushnam, Tamil nadu, India

A Beautiful Nymph (Saalbhanjika),

Stone sculpture,600 AD,
Gwalior meseum, India

भ्रूचातुयाुत्कुजञ्चताक्षाः कटाक्षाः
जस्त्नग्धा िाचो लजज्जतान्ताश्च हासाः ।
लीलामन्िां प्रजस्त्थतां च जस्त्थतां च
स्त्रीणामेतद् भूषणां चायुधां च ॥

“The shrewdness of the ups and downs of

the eyebrows, sarcasm through half-
enchanted eyes, highly aliphatic and sweet
speech, shy and soft humor, and lustful
slowmovement. All these expressions are ei-
ther the ornaments of women or the
weapons to hunt men.”

28
 Ganika applying kajal (kohl),
Ganika applying vermelion 800 AD,Khajuraho, India
looking at mirror, A woman undressing and
800 AD, Khajuraho, India pleasuring herself,
770 AD, Khajuraho,
Dallas museum

A girl marking tree leaves

with nails and showing
love to her lover, 200 AD,
Mourya period, Mathu-
ra,India

Ganika controlling man,

100 AD, Mathura, India

29
 There are several other architeture depicting sensual carvings
but their only a few based on kamsutra teachings. Here are the 7
temples in India famous for their kamsutra based erotic
sculptures:
 Khajuraho Temples, Madhya Pradesh
 Sun Temple, Konark, Orissa
 Virupaksha Temple, Hampi, Karnataka
 Jain Temples, Ranakpur, Rajasthan
 Sun Temple, Modhera, Gujarat
 Sathyamurthi Perumal Temple, Tamil Nadu
 Linga raj Temple, Bhubaneshwar, Orissa

Ganika in prepartion,
Rani ki vav,Patan,Gujarat state

Ganika’s (Porstitute or courtesan) in different poses as they prepare themselves for their lovers.
sandstone stone sculptures, all from various temples in Khajuraho, Madhya pradesh, India
Vatsyan's knowledge was an unprecedented attempt to bind all those expansions, in which he
was successful because his creation has maintained its relevance even today for almost sixteen
hundred years, now the Hindu society has broken the mental and cultural slavery of about thirteen
hundred years. But still Islamic stupidity can be felt in Hindu culture in the form of purdah system.
Vatsyana's knowledge was of a height which now the Indian society is not in a position to accept.

30
 A Ganika showing her Yoni ( vagina)
Virupaksha Shiva Temple, Hampi,Vijayanagar, Karnataka

Ganika tying anklet, Ganika undressing herself with increasing

800 AD, Khajuraho, India passion ,800 AD, Khajuraho, India

31
 INTRODUCTION
This ‘book of love” is divided into four parts. The first part is from Chapter 1 to Chapter 9 in
which ancient Hindu society, social traditions, the marriage process, and the vital components of man
and woman are mentioned. The initial chapter equally describes the need for Cohabitation Science and
its fundamental philosophical idea. In addition, it has samples of ancient Indian art which are living
examples of Kama Vigyan (sexual science). In the second part of the book, the various kind of male and
female relations has been told, which can be understood only after studying. In this, the origin of sexual
intercourse has been told. The second part extends from Chapter 10 to Chapter 33. The third part is
related to adultery, that is, prostitution or having relations with women other than the wife. The third
part extends from Chapter 34 to Chapter 44. It deals with the tendencies of prostitutes and
their mannerisms. How they exploit away man's wealth. And how a wise man is ensnared. In fact,
this book warns you that prostitution can get you into a lot of trouble. The fourth part of the book
extends from Chapter 45 to Chapter 47. It contains information about medicines and Vashikaran
mantras. these chapters explain in detail about increasing sexual power. There is mention of those
Ayurvedic medicines or formulas which were used in ancient times to increase the time of sexual
relations. In this chapter, it has also been told about those mantras which were used by men or women
to control each other. In reality, the information described in this book is like a double edged sword
which you can use to avoid exploitation or you can also exploit others with this information or
knowledge. The knowledge described in this book can also make you wiser in the practical world. No
matter how developed men and women are, their basic natural instincts are always governed by their
cognition, which has developed in the course of 3 billion years of natural development. This natural
instinct attracts men and women toward each other. Books like rativigyan, ratirahsya, anangranga and
Kamasutra have been composed for the purpose of taking this natural instinct to its highest form.
The Kamasutra (literally meaning formula for having coition) presents a complete and ob-
jective picture of the sexual life of Vatsayan's times, when society had settled down to a feudal order
of existence and a hereditary leisured class had developed a highly sophisticated manner of living in
urban areas. Polygamy was a common and courtesan had become an integral part of the social life of
the town.Early marriages of girls through family negotiation was becoming more and more general, but
in many urban areas girls grew up as virgins and, there being considerable freedom of movement for
women, contracted love marriages within or without the same social set. The literature of the period
also affords instances of courtesan marrying respectable citizens. Re-marriage of widows was not yet
prohibited, though moral recognition of such marriage was almost withheld. Wealth and vigor com-
bined to make men seek the society of several wives, concubines and courtesan for the satisfaction of
their desires that were as much the product of sexual impulses as of education and artist training. On
the other hand, it provided wives with the large field for dissatisfaction. Many of them were tied to one
husband who in many cases had to meet the sexual demands of several women. A respectable woman
therefore had the choice of two courses: to excel in the art of monopolizing the husband's love or to
seek solace in the arms of clandestine lover.
The outlook disclosed by Vatsayan in the treatment of the sexual question is amazingly sane
and modern. He has open partiality for love- marriages among grown-up men and women and for
monogamous domestic life. He shows women how to qualify for meeting all the love demands of
normally sexed husband, which include sexual and, no less equally, sentimental and cultural factors, so
that she may escape the curse of being saddled with a rival. That is why he insists that women should
learn, as well as men, the sixty-four cultural arts. He also stresses that love does not alone solve the
problem of sexual relationship and that physical and passional disparities have no less to be record
32
reckoned with. A modicum of love between husband and wife may be presumed to exist in the average
case, but these disparities and ignorance of the ways of ironing them out have made homes unhappy
and caused trouble and distress in all ages. Vatsayan has discussed this problem and suggested reme-
dies for it in a scientific manner and with the detachment that have not yet been excelled. He is the
world's Pioneer and first authoritative exponent of systematic sex education, which he holds is the best
and most practical method of self-control and happiness. Vatsayan has sometimes been
criticized disparagingly for his minute description of intimate sexual conduct and for describing the
sexual customs, sometimes revolting, of different localities. Such critics, of course, accept certain
pragmatic and essentially personal ideas about sexual morality as immutable standards by which to
judge the question of sex. They would not make allowances for differences in moral standards in view
of differences in social conditions, place and time. Nor would they permit themselves even to think that
humanity represents many different types that are very differently endowed with the libidinous
passion. To a student who has made a careful study of the conditions of feudal society in the different
countries in different ages, it will appear that certain vices or excesses were inherent in the very
composition of the feudal order, where the male of the species among the leisured or ruling classes had
enough power in his hands to draw up a special moral code for their own class. The description of the
ways of seducing other’s wives, for example, leaves no doubt in the reader's mind that this vice was
mostly confined among the royalty and within court Circles. Let this picture be compared to those of
Italian and French aristocracy of the middle ages, and a family resemblance will at once be noticed.
Now, what about the present age? Substitute “plutocracy” for aristocracy and the picture will be very
similar in its broad outlines. The objection relating to the minutiae of intimate behaviour is simply due
to prudery and ignorance. Vatsayan had realized that sexual satisfaction in women was as important as
in man. He even goes so far as to warn his readers that without sexual satisfaction a woman's physical
and mental constitution may become unbalanced. As has already been noted, physical and passional
disparities make complete mutual satisfaction difficult of attainment, and the careful reader will note
how helpful Vatsayan has been to the husband who may have anxieties on that score. Almost all that
Vatsayan has said about love-play, etc., has been amply corroborated by modern medical literature on
sex. It is rather amazing that the treatment of this matter in some of the most reputed and up-to-date
works on sex is exactly on the lines of the Kamasutra. Of course, modern writers have the advantage in
that they know more about anatomy and physiology of sex than did our ancient sage. However, neither
in the matter of physiology of passion nor in that of ways and means does Vatsayan yield place to such
famous authors as Osho (aacharya Rajneesh), van de Velde or Ivan Bloch. The home and the world
would certainly be happier for young men and women if they understood the rationale and technique
of passion, a complex biological-cum-cultural necessity of the present day.
Vatsayan has written his invaluable work in Sanskrit aphorisms (generally known as su-
tra, which means thread). That are sometimes brief to the point of obscurity. Like many others sutras
on the other subjects some of them are capable, on the face of them, of different interpretations. The
rational way of understanding their true implications is to refer constantly to the commentary called
Jayamangala, reputedly by Yashodhara, which has been accepted for centuries as the correct
annotation to the Kamasutra.
I have no hesitation in recommending this book to all men and women who have entered or are
about to enter the married state.

33
 God Shiva in a passionate embrace with his wife Godess Parvati after marriage. Musicians all
around are playing instrument and dancing. A wall sculpture,Khajuraho, Madhya Pradesh.

God vishnu and Godess laxmi in embrace with each

other. A wall sculpture, Khajuraho, Madhya Pradesh.

34
Man and woman dancing at
marriage procession,
Khajuraho Temple, India

Couple in love,
while a lady undressing and
another one pleasuring herself,
Khajuraho temple,
India

35
 1. The Art of love making

VATSAYAN begins by acknowledging three great objectives of life :

1. Dharma (religion and morality),
2. Artha (wealth and material prosperity) and
3. Kama (the Sexual pleasure)
For these are also the ultimate objectives of all the Hindu scriptures.1
1 In acknowledging the three fold objectives of life, Vatsayan rejects the objective of moksha (salvation).

Thus, he aligns himself with the Shakti cult, which does not recognize moksha.
He pays his respect to those preceptors of old who have made deep studies in these things and have
instructed others. The present work is intimately related to the experiences and teachings of those
great men, it being a selection from, and condensation of their several works.
It has been authoritatively stated that after having created animals and human beings upon the Earth,
the lord of creation gave instructions, for their progress and preservation, in the method of
achievement of the three objectives, in one hundred thousand chapters. Sage Svayambhuva Manu (the
law giver of ancient hindu society) who was self born, took out from that vast body of instructions the part
dealing with Dharma and compiled a treatise laying down the principles of religion and morality. Vri-
haspati dealt with another part and made up a treatise on the science of wealth. Nandi, the follower of
Mahadeva (the God Shiva), took out still another part and compiled, in one thousand chapters, a
treatise on the Science of love. He was the father of sexual science. Svetaketu,son of Uddalaka, later con-
densed this work into five hundred chapters. Vabhravya, a native of Panchala state (the Ganga-Jamuna
doab south of Delhi) further condensed it into one hundred and fifty chapters under the following
seven divisions:
1. General considerations
2. Concerning virgin brides
3. Concerning wife
4. Concerning prostitutes
5. Concerning mistresses who maybe wives of others
6. Concerning the technique of sexual union of men and women, and
7. Secret instructions (on aphrodisiacs, art of beautification etc.)
Dattaka wrote a monograph on the division concerning the art and technique of prostitutes
at the request of the courtesans of Pataliputra City (modern Patna) the capital of Magadha Empire.
Similarly, Charayana (Chanakya) dealt separately with the division “general considerations” and in-
corporated in it the results of his own researches. Gotakamukha dealt with the division relating to
young wives; Gonardiya with that is relating to sexually experienced wives; Gonikaputra with that re-
lating to Mistresses; Suvarnanabha with that relating to the technique of sexual union and
kuchumara with the secret instructions. As a result of of such partial treatment by many precep-
tors, the culture of the science of sex as a whole received little attention. People consulted the particular
division in which they might be interested, and as no one felt the urge to study the sexual science
comprehensively, the mass of knowledge handed down from Nandi to Vabhravya was threatened with
complete oblivion. In view of this and the facts that the work of the Dattaka and others are concerned
with particular aspect of the science and that, Vabhravya’s authoritative treatise is too voluminous to
be read with comfort. Vatsayan condenses the treatment of all the divisions into Kamasutra.

36
God Shiva ; creater of kamashastra with Nandi (bull) reprsenting vigor and strength of man
Durga temple, Aihole

37
 2. Three stages of life

MAN and woman have a hundred year cycle of life. This should be so divided as to offer the
harmonious and coordinated pursuit of the three objectives of life, the acquisition of religious merit and
wealth and the satisfaction of love desires.
There are three stages1 of life:
1. Childhood
2. Manhood and
3. Old age
One is a child up to the age of sixteen, a man up to the age of 70, and an old man from 70
onwards. Childhood should be devoted to education, manhood to the acquisition of wealth and
satisfaction of amorous passion and old age to the acquisition of merit and release from bondage to the
recurring cycle of birth and death. In real life, however, it is not possible to confine the pursuit of the
three objectives to the three different stages. In receiving his education, for example, a boy is not only
acquiring merit by doing his duty, but is also preparing himself for the pursuit of wealth and for the
proper exercise of his passions. Further, in taking a wife, a man may be doing his duty as well as
procuring an instrument for the exercise of his passion. Even in the act of sexual union, a man, while
satisfying his love desire, may be acting in the furtherance of his task of begetting progeny, which is
enjoined by the scriptures. Again considering the uncertainty of life, he should pursue, at whatever
period possible, whichever objective he considers proper. One thing, however, is strictly enjoined: one
must exercise the strict continence so long as one is a student.
1 Here, again, Vatsayan departs from the popular division of life into four stages, (i) Childhood,(ii)
Youth,(iii) Ripe youth and (iv) Old age. Professors of conduct advice retirement at the age of 50, but
Vatsayan think it should be 70.
There are certain actions, as for instance, the taking of meat and other things, which arise out of
our instinctive desires. These are universal because their effects, such as the satisfaction of the hunger
and the consequent feeling of well-being, are readily observed. But rituals, sacrifices and expiatory
actions prescribed by the holy books (Shastras) are not popularly observed, for their effects are
intangible to the senses. when one defers to the commands of the holy books, dutifully observes the
rules of the rituals, sacrifices etc., and refrains from unrestricted partaking of meat, purposeless
killing of animals, theft of others property, incest, adultery, fornication and the drinking of
unconsecrated liquor, such restraint is called Dharma or piety. Instructions in such Piety should be had
from the holy books or from a college of competent preceptors.
The acquisition of knowledge, landed property precious metals, horses, elephants, cows and
other cattle, food crops like rice etc. utensils and furniture made of metal, wood, earthenware and leath-
er, friends, garments and ornaments and the increment of what one possesses or has acquired consti-
tute what is meant by Artha or wealth. Instruction in the pursuit of wealth should be obtained from
those officers of state whom it is customary for kings to appoint to be in charge of different depart-
ments of the administration, or from experts in such occupations as agriculture etc., or from people
engaged in commerce.
The desire for pleasurable experience through the five senses-hearing, touch, sight, taste and
smell-under the guidance of the mind which is inseparably connected with the ego (Atma) is called Ka-
ma, in its general significance. The object of this desire is to obtain pleasure. However, the special sense
in which the word Kama has been used throughout the Kamasutra is denoted by that powerful desire
38
felt by men and women for a particular contact which produces the maximum pleasure,attended by
other minor pleasures, which are like shadows in comparison with the greater pleasure. By this defini-
tion, the significance of Kama(libido sensualis) has been narrowed down to the urge for that extreme
pleasure which comes to men and women through their respective genital organs coming into contact
during coital moment. The necessary act- touching, kissing, embracing, titillating etc; have been rele-
gated to the position of secondary, in fact, apparent or minor pleasures. One should be educated in the
art of love by studying the Kamasutra or by attending soirees and meeting of citizens well experi-
enced in the art.
Should one find it necessary to pursue the three objectives (religious merits, wealth and
satisfaction of erotic desire) at the same time, one should select the one that is the most important. For
example, satisfaction of erotic desire is subordinate to pursuit of wealth, which again, is subordinate to
that of religious merit. Religious merit, therefore, has the pride of place among life's objectives. This,
however, does not hold true for everybody, for to a king wealth is more important, since his way of life
is indissolubly bound up with wealth. Again, wealth being the occupation of public women, they should
prefer it to the other two.
Dharma is not a widely understood objective and only the sacred books can set forth the tech-
nique of achieving it. To get the best results out of anything, one should adopt the best method of doing
it. Both in the acquisition of Dharma and Artha it is in the authoritative works on the respective sub-
jects that the best method can be found. But erotic passion or Kama Reigns in every creature; it occurs
spontaneously not only in man but also in animals. Some preceptors are, therefore, of the opinion
that there is no need of education in sexual science. The answer to this objection is that passion in
man and woman, weather in the general or the special sense, is dependent for its satisfaction
upon certain steps being taken by them. The knowledge of these may come from a study of the Kama
Shastra. The non- application of proper means, which we observe in the brute creation, is caused by
their being unrestrained and by the female of the species being fit for sexual intercourses only when in
rut, and that, too, in order to conceive. Again, this urge is instinctive and is absolutely uninfluenced by
any element of thought. They, therefore, obey this urge without any preliminaries and without any dis-
crimination as to whom they mate with. But with man and woman, the case is entirely different. They
are sophisticated; the urge they feel is bound up with many associations; sexual union to them is not
merely the means to the procreation of offspring nor it is confined to a particular mating season but is
indulged in for pleasure and at all times. Further, the factors of mutual satisfaction and a comparative
permanence of relationship are absent in animals. These factors, which contribute to the fullness of
pleasure in coitus among human beings, can be achieved only as a result of following a certain pro-
cedure which can be learnt by a study of the authoritative works on the sexual science.
There are others who say that one need not heed the commandments of religion, for their
rewards are not of this world and who are at same time doubtful whether they will bear any fruit at all.
Who but a fool would, therefore, allow the keeping in the hands of others or what is his own property?
A humble pigeon in the hand today is much better than a peacock promised for tomorrow. A copper
coin in hand is better than a problematic gold coin. On these grounds some persons would discourage
the observance of prescribed religious duties such as sacrifices, charities and act of self-restraint. But,
remarks Vatsayan, the Shastras (written holy hindu scriptures) are not to be doubted, for they are of
divine origin. The sacrificial rites observed for destruction of enemies or for pacification of the gods or
for improvement of one's condition produce definite results if they are properly conducted. The stars,
the sun, the moon, the planets and the different signs of the celestial zodiac are, as it were, sentiment
indicators of good and evil. The existence of the individual in society involves obedience to the law of

39
 Varnashrama, i.e., the codified regulations for social divisions and their respective duties. 2 And
even when one has seed in hand, one does sow it on the ground in order to get more crops in future.
For these reasons, one should obey the commandments of religion.3
2The division of society into four classes was called Varnashrama. There were four varnas: the
Brahmin (the divine), the Kshatriya (the warrior), the Vaishya (the trader) and the Shudra (the
labourer): the last named being regarded as unclean, uncultured and untouchable.
3 The idea in that the validity of shastric injunctions must not be questioned, for they are of divine
origin; they are bound up with past lives and karma; they are necessary for the maintenance of social
order; and they increase one's merit in the life to come.
There are others who say that it is not necessary exert oneself to acquire wealth. For,
sometimes it so happens that one's best efforts do not bring prosperity, while at other times, one is
simply flooded with wealth without having to move a finger. Well, says Vatsayan. It is destiny (Kala)
which does everything. It is the arbiter of man's wealth or poverty, victory or defeat and joy or sorrow.
It made Vali, the king of heaven. It deposed him again from that exalted throne and it may again put him
back there. But, whether it is due to the action of destiny or other reasons, all enterprises for the pur-
suit of wealth evidently rests on one's will to acquire. Even things that are ordained to happen must
await one's activity. The man who does nothing will enjoy no happiness, says Vatsayan.
There are others who would forbid the enjoyment of sensual pleasures on the grounds that
such enjoyment is prejudicial to the cultivation of wealth and religion which are both superior to it,
and that it leads to association with the wicked, inclination to sins and crimes,uncleanness
and,ultimately misery. They contend that it also causes an inability to discriminate between right and
wrong, unreliability, dishonour and meanness. They refer to the reports that many who had given
themselves up to the pursuit of sensual pleasures have been ruined, not alone but with their followers.
For instance, King Dandka of the bhoja dynasty had perished with all his kinsman, friends and
domains for having forcibly possessed a Brahmin girl. Indra, King of Gods, met with disaster for
seducing Ahilya, the powerful Kichaka for wanting Dropdi, and Ravana for abducting Seeta. Many oth-
ers have come to a violent end on account of their lust- argue the professors of moral conduct.4 Vatsa-
yan refutes this argument by pointing out that sexual satisfaction, equally like food, is essential to the
maintenance of a bodily health and consequently as important as wealth and religion. Though evil
effects may follow as a result of indulgence, passion has to be appeased; one cannot refrain from
cooking food because beggars are about or from sowing barley seeds because dear may come and eat
up all the corn. Thus the gratification of the sexual impulse is as necessary as the pursuit of religion or
wealth.
In conclusion, it is said: "man will attain perfect happiness by serving Artha, Kama and Dharma
in this manner. Cultured man engage in activities that do not endanger one's prospects in the other
world, that do not entail loss of wealth and that are withal pleasant. They should do what favours the
three objectives or two or even one of them but should never do what serves one of the objectives but
militates against the other two."
4 The stories of Dandaka and Kichaka occur in the Mahabharata and those of Ahilya and Seeta occur in the Rama-
yana. The latter have also been referred to in brief in the Mahabharata.

40
Princess Dropdi with her five
husband.

Vishnu Anantashayin panel

(South wall), Dashavatara
Temple, Lalitpur, Uttar pra-
desh.

Draupadi as Sairandhri
fends off Kichaka's advances.

King Kichaka trying to molest

princess Dropadi

A painting by Raja ravi verma,

1890

41
 3. The arts and sexual sciences

A MAN should receive instruction in the principles of Love and the accessory sciences at the same time
as, and without interfering with, his studies in the spiritual, moral and material sciences and the
associated subjects. As for a woman, she should receive instructions in this science through
preceptors before she has attained maturity; if she is married, she may do so with the approval of her
husband. Some savants object to the education of women in the science and art of sex on the ground
that women are not entitled to the study of Shastras. But, there is no bar to women putting the
principles of the sexual science to the correct practical application and since such application is
possible only after a working knowledge of the science. It is necessary that women also should learn it.
This is true not only of this branch of knowledge, but also of other branches. Few have mastered the
Shastras but everyone knows more or less about the practical application of the instructions given therein.
The science of Grammar has nothing to do with sacrificial rites, yet those who perform them have to
observe the rules of Grammar in uttering the ‘mantras’ (sacred words to evoke godly power). Persons
ignorant of astrology undertake work on auspicious days because the science is there; keepers of hors-
es and elephants tame those animals without knowing the theories thereof; and subjects residing on the
outlying fringes of an empire obey the king’s laws on the mere understanding that there is a king some-
where. There are many courtesans, princesses and daughters of the ministers, military chiefs and bank-
ers who are well read in the Science of Love. Women should, therefore, learn the principles and tech-
nique of Love, either in whole or in part, from a confidential friend and in secret.
There are sixty-four different arts to be learnt in order to be an adept in the science; young
maids should practise them in strict privacy. Their instructions may be
1. The daughter of the one’s wet nurse, who has grown up along with one,
2. And intimate women friend who can be trusted in every matter,
3. A mother's sister of the same age,
4. Old maid servant enjoying the liberties of a mother's sister,
5. A mendicant women who may be in one’s confidence, and
6. And elder sister with whom confidences may be exchanged regarding love affairs.
The sixty-four arts which should fit a girl to be a complete practitioner of the art of Love are:
1. Vocal music,
2. Instrumental music,
3. Dancing,
4. Painting in colours,
5. Decoration of forehead
6. Floor decoration with coloured powder,
7. Making of beds with flowers,
8. Colouring the teeth, garments, hair, nails and the body (i.e., staining, dyeing, colouring and painting
the same),
9. Floor decoration with coloured stones and gems,
10. Making of different kind of beds for different seasons and for different purposes,
11. Swimming and aquatic sports (jal-krida)
12. Bewitching and spells to subdue and win others,
42
13. Stringing flowers into garlands and other ornaments for decorating the body,
14. Arranging flowers in the form of floral crown and chaplets,
15. Art of dressing and costumes for different occasions (private theatricals, masques, pageants, etc.),
16. Preparation of ear-rings with ivory, shell and other materials,
17. Making of scents and other perfumery articles,
18. Matching of jewellery and renovating old ornaments,
19. Creating illusions (by magical tricks for the amusement and entertainment of guests),
20. Make-up, toilet and uses of beautifying agents,
21. Sleight of hand,
22. Art of cooking,
23. Preparation of different beverages, sweet and drinks, spiced alcoholic drinks and chutneys,
24. Sewing, darning and needlework of various kinds,
25. Making birds, flowers, etc., out of yarn or thread,
26. Mimicry of sounds of the veena (an Indian guitar) and damruka (tabor),
27. Setting of puzzles and solving riddles,
28. Repartee in ex tempore verse (that is, when one person recites verse, another individual follows
with a recitation starting with the last quarter of the previous versus)
29. Participation in reciting versus difficult to interpret and not easy to pronounce,
30. Melodious and attuned reading from Shastra (i.e. of Ramayana and Mahabharata),
31. Dramatic criticism and analysis of narratives,
32. ex tempore filling up of the missing lines of a verses
33. Making different articles of furniture etc, from canes and reeds,
34. Wood engraving,
35. Carpentry,
36. Building- engineering,
37. Assaying of golden articles and gems,
38. Metallurgy,
39. Tinting or dyeing crystals and precious stones (mineralogy),
40. Gardening and care of plants and rules of the agricultural science,
41. Training rams, cocks and other birds for mock fights,
42. Teaching parrots and other birds to talk and sending message through them,
43. Skill and dexterity in rubbing and massaging the body and the head, shampooing and dressing the
hair,
44. Finger signals to convey messages,
45. Use of codes and cipher messages,
46. Knowledge of different vernaculars and dialects,
47. Floral decorations on carts, palanquins, horses, elephants etc,
48. Knowledge of omens and augury,
49. Knowledge of apparatus and machinery,
50. Memory training for mental organization of subjects learnt,
51. Recapitulation of lessons from memory along with another,
43
 52. Composing verse to order,
53. Knowledge of dictionaries and cyclopedias,
54. Knowledge of poetics,
55. Rhetoric of figures of speech,
56. Art of disguise,
57. Art of wearing clothes in the most appropriate way so that the Yoni is adequately covered in spite of
violent movement,
58. Games of chance,
59. Games of dice, chess etc,
60. Playing with balls and dolls for children,
61. Taming of pets, etiquette and good manners,
62. Knowledge of military strategy that helps a person to achieve victory over his opponent,
63. Physical culture and athletics, and
64. Art of knowing the character of a man from his features.(prakriti parichaye)1
A public woman versed in these sixty-four art is called a Ganika (courtesan) and is esteemed by
the public. She is even honoured by kings and praised by leaders of fashion. She attracts them and is
visited by them. Princesses and daughters of the nobility, versed in these arts, can hold the affections of
their husbands even though the latter should have a thousand wives and mistresses. Even if an expert
in these arts should lose her husband, she may make a comfortable living in strange places by virtue of
these arts. A man well-versed in these arts, if he has a good tongue and charming manner with the
ladies, can without much delay gain the favour of unknown woman. Fortune smiles on men and women
on the study of these arts, the application of which should depend upon considerations of time and
locality.
1there is an another book by the author aakash shukla which teaches about ancient hindu art of
knowing someone character, behaviour, and other fine details about a subject merely from his physical
appearence.

क्िचचत्सुभ्रूभङ्गः क्िचचिवि च लज्जािररणतैः

क्िचचद्भीनतरस्त्तैः क्िचचिवि च लीलाविलससतैः ।
निोढानामेसभिुिनकमलैनेरचसलतैः
स्त्फुररीलाब्जानाां प्रकरिररिूणाु इि दिशः ॥
“Sometimes the charming sarcasm of the
brows, sometimes the playful luxuries of
shame, sometimes being frightened by fear,
sometimes the blue lotus-like eyes of the
beautiful young women spread their effect
everywhere.”

44
 A Ganika holding a child and another one fixing plucking some flowers.

A Ganika streatching herself another one applying lipstick looking at the mirror. all from rani ki vav,
Patan, Gujarat state.
45
Another random document with
no related content on Scribd:
pezèn, uwén gebèèntèn.… en weg is uwèn smart.…
weg uwèn lijdèn!.…

Twee minuten lang oreerde de kwakzalver weer door,

al deftiger, hoogdravender, voelend z’n stijgender
invloed op ’t bokkige, eerst scheldende publiek. De
woeste kerel, stond onder ’m, met opgeblazen
wangen, ’t vocht speelsch rond te spoelen in z’n
mond, doodstil in één houding, bestaard, met ontzag,
door heel den kijkkring.—

—Spuug nù uit, vriend, èn spreek!.… tot ùw

maagden.. en makkèrs.… spreekt.. en zèg.. niets dàn
den.. wààrheid.. Spréékt.. Drink nog éénen keer.. vàn
dit.… ijskoùd wàter.. En zeg dàn.… of gij pijn hèbt …
Zeg dèn … vollèn wààrheid aan uws gelijkèn.… aan
uwèn meerdèren.… en mindèren.. spreekt.. hebt gij
pijn?.… [117]

—Gain spier! f’rdomd.… of ’k mot ’t liege hee?

Jeesekrim! meroakel.… daa’s òplucht!.…

—Hai jai gain spier pain Piet? schreeuwde een.—

—Gain spier!

—En hep ie je nie van mékoàr hoald?

—Saa’k f’rbrande.… aa’s ’k wâ voelt hep hee?

snó’f’rjenne moat.… daa’s de weg noà de haimel
hoor!.… Jemikremi!

Maar Jood bleef stil even van z’n hoogte loeren met
z’n gitpupillen op Piet gestard, en toen juichend den
 kring rond, hoed in den hand, schorde en stootte z’n
stem weer:

—Gij àllen.. ziet hèt.… hooggè.. eerd pùbliek.… Ik ben

gèèn.… leugènaar.. ik ben gèèn.… bedrièger.… ik
ben.… gèèn.… galeiboef.… gèèn Chamberlain.. gèèn
Rhodes!.… Hier vòòr u.… staat dèn.. èchtèn den
èenigèn.. afstammèling van Profèsseur.… Jaack
Ròzel.… Seni-òr.. woònachtig te Montabilie.… in zijn
leven.. en strevèn.… op het rotsgebergte van Zuid-
Amerika, alwààr hij.… de Sioux’s de Panie-ews!.. de
Irokeèzèn, gràties hielp.… gèlijk ik.… dat ù doe.…
Hier staat hij dan, in dèn.. levendèn lijven.. Gij ziet
hèt.. gij hoort.. hèt.. gij rùikt het.. gij vernèèmt het.. gij
beproèft het.… Hij gèneest.… ùwen maagden.…
uwen vrièndèn.… uwèn kindèrèn.… Hij is.. den
èenigèn.. Jaack Ròzel òp den ganschen wèèreld.. die
hier komt om u.. te bewijzèn.. een weldààd.. Hij is.. tèr
naam en tèr faam.… bèkend en spèciaal bè-vriend
met àllen doktorèn.. professeùren, met àllen genèès-,
hèèl-, verloskundigèn des heelen ààrdkloot.… En hij
rèist den wèreld door mèt hèt vocht.… van Valura.…
en den.… profesòren àchter hèm áán! En hij trekt.…
gansch zondèr pijnen.… Hebt gij niet.… gèzien.. dat
ik.… hier stàànden.… voor drie màànden.… twee
lammen, van wien ik den krukken.… over dèn.…
knieën, stuk bràk.… ter aarden.… wièrp,.… hen
bèstreek … met hèt vocht.… van Valura.… èn zij.. van
mijn tafél, weer loopènden vertrokken,.… rècht op!.…
slank en elègant.… gelijk chiraffen.… En hebt gij niet-
gezien.… dàt ik.… ùw vriend.… hiernèvens … trok-
zòndèr … dàt één … spier vàn [118]zijn.… gèlaat
vèrtrok.… en dàt hij.. nu zelf.. bèweert en bèvestigt
 gèèn pijn te hebbèn.… gèvoeld? Zoo genees ik
lammèn.… blinddèn.… doovèn.… rheumatieken.…
met mijnèn wonderdruppels.. mijn vocht.. van
Valura … Nu zal ik nog dezen.… vriend helpen.… en
dan zal ik vertrekkèn.. uit hoofden en onherroepelijk..
zonder àànziens des persònen, na te hebben.…
aangebodèn.. laatsten vòòrraad.…

Weer bedremmeld stond een derde kerel voor ’m,

mond wijd open. Zacht beduidde hij den jongen, dat ie
niet noodig had getrokken te worden. Ook hém liet ie
spoelen met zijn Valura, en onderhands haalde ie
flakons uit z’n tasch in vloeipapiertjes verpakt.—Weer
aarzelde verbluffing rond, in den verhitten kijkprop van
tuinderskerels en meiden, sjouwers en vrouwen, want
weer stamelde de kerel, na twee minuten ’t vocht in
z’n kies te hebben gezogen, dat ie geen pijn meer
voelde.—Naar alle kanten werd ie getrokken en
verbluft knikte, stamelde ie uit, nergens pijn meer te
voelen.—

—Dat wondèr voor dén prijs.. van vijf èn twintig cènt!

Geen woord kon Moor-Jood meer uitbrengen van

vermoeienis. Het zweet drupte als stijfselkorrels vettig
op z’n donker hoofd. Van drie kanten uit den kring,
drongen lijven òp, grijp-armen vooruit, hoog naar ’t
tafeltje. Meer niet. Gezicht van den Moor-Jood betrok,
zenuwachtig, spijtig, alsof ’r ’n huil draaide rond z’n
mond. Maar toch beheerschte ie zich, sprak ie weer
met afgetobder, heescher geluid.

Eindelijk, de geholpen kerels, waren weer den kring

ingesjokkerd, schouerbonkend, getrokken en
 gesleurd, babbelden en schreeuwden ze met
ondervragers mee. Wantrouwig landvolkje, beduusd
en vergaapt, kwam in beweging. Weer had de Jood
getoeterd, schel en hoornhoog den hemel in, spattend
z’n klanken, schuimend tegen opsteigerend gewoel,
en weer zwaaide ie z’n brandende toortsen tegen al
donkerder luchtgoud. Er kwam beweging, woeling in
den menschprop, uit elkaar brokkeling van broeierige
kluiten. Telkens, slechts twee, drie tegelijk, drongen
naar de kruk, met ’t kwartje klaar in de hoog gerekte
hand. En drukker stalde ie z’n flakons uit, zalig-
wachtend [119]op uitwerking van z’n wond’re woorden
en proeven.—Sneller drongen de lijven en armen òp,
dat ie nieuwe voorraad uit z’n tasch moest halen.
Rapper z’n handen graaiden in den tasch-muil, z’n
donkere kop lachte, tegen ’t licht in, burlesk, ironisch,
onmerkbaar bijna.—Nu zòng z’n stem met klank van
zalvende zekerheid:

—Een iedèr.. dièn lijdt.… ’t zij aan zinkèns.. ’t zij aan

koortsèn.… ’t zij aan wondèn, blindheid.. doòfheid..
làmheid.… ik help hèm.… ook zondèr gèl-den.…

Trager trok kring om ’m los. Meer en méér handen

grepen, naar z’n hooge tafel, dat ’n stapel kwartjes
tusschen z’n tangen ophoopte.—

Z’n oogen git-glanzigden, lachten, vonkten.—Eindelijk

stopte ie. Zwaar gedaver en laatst gewoel dromde
langs z’n tafel achter z’n kruk. Nou wou ie ook een ’n
glas bier gaan drinken. Z’n keel brandde van rauwen
krijsch en pijn. Eerbiedig weken de kerels voor den
lang-mageren Moor-Jood, met z’n angst donkeren
 kop, z’n streng borenden blik, z’n kalmte. Even z’n
schouders, in krommige lijn opgehaald, ging z’n lang
lichaam tusschen de sjofele sjouwers en tuinders, z’n
zwart-bleeke kop, prachtig beglansd in lichtwaas.
Geheimzinnig in donkeren staar, schoof ie voort
tusschen de botte kerels, zich-zelf voelend als ’n
Cagliostro in zuidelijke gratie en suggestie.—

In eindloozen koepel, blauw-bleek glanzend,

rondgestold in ontzaglijken hemelkring boven
havenbrok en polder, wuifden struisveerige wolken,
zilverzij-licht, en ver, heel naar den horizon, tusschen
violette neveling van spitsjes en daakjes, bouwde de
lucht porceleinen torens van lichtwolken, slank, met
fonkelende tinnen.

Menschenprop was weggebrokkeld, nu kwakzalver

bier dronk in rookige walmkroeg.—Daverend
roezemoes ratelhotste in ’t zonnezinken als ging er
hellevaart rond in Wiereland; begloeid en beglansd
stedeke, met z’n hel-rood en zilver leigedak in
vervloeienden goud-roes van eindloos polderruim.—

Op en af de booten ging ’t weer in laatsten

ploetersjouw en [120]afhitsende werkkoorts als hadden
de kerels zich verzuimd met luistering naar den Jood.

Woester stormden de kroegen leeg en vol.—Verhitte

zuipdrift stramde de koppen, en zwaarder, paffender in
’t zomerbrio, doorregenden geuren en stanken de
haven; verklonk in rommelende donkerte ’t lawaai der
zwoegers tegen al stillere rood-verre oneindigheid van
polder-avondlucht; hemelkoepel, doorzeild van
 laatsten klankenjubel en verren vogelenkweel,
leeuwerikkenvlucht, donker verstippend de luchtzee
door.—

Sneller, àl lager sloeg de blink-glanzende gang van ’t

licht over de haven, als kon de dag niet sterven dààr,
vloedgolfde ’t over de kerels, roodgebrande tronies,
nimbus van avondzon, gloedkoppen, verwaasd en
verheiligd.—Dwars door den rauwrumoerenden
gruwel van krijschende, furiënde sjacher en zwoeg,
over pijpen, masten, zeilbrokken, pramen en sloepen,
stroomde avondtooverige gloed, vreemd zilverrood,
blond en telkens wisselend in gamma’s. Van de
porceleinen wolk-torens, gloei-purperden de tinnen,
vonkten hun gouden ommegangen.—Al lager de
lichttoover doezelde over heete havenjoel, gedaver en
gezwoeg; al wijêr glansde stralende purpering,
verstillend de luchten, bedampend in wond’ren
zonnemist, keien, sintels, en werkers. Paardkoppen
droomden in stille, verglijdende glanzen en karren met
aardbei en groen, doofden langzaam, bij stukken uit,
in doffe zonloosheid.—

Zonnedroom, die uitdoezelde, wegnevelde, in violet

gedamp en paarse vlekken, schaduw-fantomen wierp
aan walkant, goudteer vergloorde, tusschen rag
touwwerk en masten.

Over bootsrompen, en boegrondingen, waar

kleurkopering van roeren en luikjes verbleekte; over
heel het havengeraas, waar werkersopstand in
drommen dooreen krioelde, starde al meer de vlam
van den hitte-dag, de felle daverende blinkgang van
 licht, verdampend in wazige tonaliteit, in zilverige
schemer-vegen en aarzelend blondrossig-goud.

Tusschen het al donkerder kastanje-geboomte, waar

de schemer ’t eerst in duisternis verweefde, keken de
kerels onder ’t lommer nog òp tegen den kleurzang
van zonnedag, die lang, heel lang, [121]tooverig
begloeid, in polderhemel bleef nazingen z’n wond’re
tinten. Menschen, paarden, honden en karren in
opgepropte kronkel en warrel, onder ’t duisterende
lommer kleurden nà, in de ver-affe roezemoes van ’t
stervende licht.—Allen dáár, wriemelden dooréén in
schemer-avondgoud.—Petten kleurden vaal, in al
gamma’s; kielen, jassen, schorten, donkere sjouwers
en tuinders-venters, boeren en kijkers, in één
warreldrom, loom langs elkaar verkleurend en
verkronkelend, als drasten ze voet-zwaar aan
vastzuigende havenkeien, moeras van rottend
groentenafval.—

Dirk Hassel was met Klaas Grint, z’n zoon Jan, en

Rink van den polder, tusschen ’n groep tuinders de
kroeg ingeschoffeld.—Voor hun beenen buldogde ’n
ton-buikige boer, met ’n korf kleine varkentjes onder
z’n arm gekneld, waar hooilucht uitrotte, urineachtig-
vuns. Krijschend en ronkend woelden de dieren,
scheefhangend tegen de korfbiezen op, en telkens
bonkte bullige boer, met z’n worstige handen, ’n
driftstoot op de krijscherige diersnuiten.—Achter
kroeggangers ratel-rolden, dwars door de woelende
menschenmassa, groote gele tabaksvaten, door
troepje kerels met trappen tusschen de karren en
dieren voortgebonkerd naar ’t spoor.
 Dirk was blij dat ie eindelijk zat. Al twee maal van de
haven naar de akkers geweest, extra-oplading, en nou
zou ie ’t d’r eens lekkertjes van nemen. Hij grinnekte
tegen z’n brandewijntje met suiker, dat op z’n schor-
korten roep, dadelijk gebracht was. Om ’m krioelde ’t
van klomp-klossende kerels, in stampigen gang op
knarsenden zandgrond. Lekker en poeteloerig-duizelig
snoof Dirk de jenever en bierlucht, zoetig en scherp,
en stil tegen den muur ingedrukt, ’n pijp den mond
ingebeten, sloeg ie, brandewijntje na brandewijntje
klein, mummelde wat woorden uit, tegen groenboeren
die naast ’m neersmakten, aemechtig hijgend van
zwoeg.—

Zwaar-laag dampte de kroegrook, nevelig, en rood

misterig toen gasvlam bij ’t buffet en boven biljart
àànplofte. Stil bleef Dirk zitten, roerloos in z’n hoekje,
uitspuitend pruimsop en pijpnikotine in de
spuwbakken, doodop, lekker duizelig, in de
[122]wemeling van al meer aanstommelend landvolk en
roezemoes van stemmen, achter hitterook
uitkrauwelend, tot ie doorzopen, landerig en woedend,
tegen tien uur naar huis waggelde.

[Inhoud]

III.

Om drie uur den volgenden ochtend, kwam er kort-

driftig gestommel in de duister-beluikte woonkamer
 van ouën Gerrit. Zurige zweetlucht vervunsde uit de
krottige slaapholletjes. Dirk uit ’t donker bedsteetje,
was opgesprongen, òver Piet heen, nog slaperig en
gaperig, rauw van pijn, geradbraakt van vermoeienis
en katterigheid. Branderige matheid voelde ie door z’n
lijf loomen. Driftig schouerbonkend stootte ie Piet op,
die nijdig even gromde, maar dadelijk weer insnurkte.
Dat maakte Dirk kregel en snauwender porde ie ouë
Gerrit en Guurt, dat ruw z’n korte stem,
kamerochtend-stilte doorscheurde. Wijê gapen loeide
ie koeïg door ’t vertrekje, dàn vlak tegen beschot, dàn
vóór bedsteedonker, telkens zich rekkend in
achterwaartschen lijfkronkel, armen omhoog
gerengeld en vingers verkrampt in slaapzoeten
wellust, dien hij machteloos-heerlijk door z’n lijf voelde
terugstroomen, tegen z’n luiigen lijfrek in. Langzaam
slofferde ie op z’n kousen naar buiten waar ie de
luiken van de ramen losmorrelde. Onder de pomp
beplaste hij z’n gezicht, luchtigjes met water, vies van
’t nattige dat z’n hemdsmouwen en hemdboord
beklefferde, en in branderige straaltjes tot op z’n
naakte borst afdroop.—

Guurt was gauw opgestaan.—In ’r nachtpon,

haarhang opgebonden in woesten kronkel, maakte ze
vuur op ’t achterend, drentelde rond de stellen en
zette boterhammenkoffie.—Ouë Gerrit en Piet in hun
rooie onderbroeken waggelden nog slaapdronken en
grommerig door de kamer, loom en lijzig hun
bovenkleeren aansjokkerend. Even bleef Piet hang-
zitten op z’n stoel, klepten z’n oogleden dicht, hield ie
z’n stinkende pilow, half over z’n dijen getrokken, slap
 in de slaaprige, krachtlooze knuist. Ouë Gerrit, in
schreeuw, schrikte ’m wakker. [123]

—Wà sloapmus, jai toch, gromde ie, soo’n jonkie!

Na ’n kwartiertje rondgeslenter en gedribbel,

sluipzacht op ’r kousen, had Guurt de kerels bakken
koffie en hompen brood voorgeschoven. Gretig
schuifelden de mannen hun stoelen áán,
neerblokkend met armen op tafel, hoofden gebogen
over hun dampende koffiebakken, slurpend, gaperig,
rekkend en korrelig-stil. Rond hen, walmde slaapstank
van ’t kamertje, dat al zacht volgevloeid glansde van
vreemd, gloed-stil ochtendgoud. Roodflonkerende
zonnedans koperde bliksempjes op de staartklok-
gewichten, op ’t pronkstelletje, tang-pook-schep,
onder het schuingetimmerde, versierde
hoekschoorsteentje.—

Langzaam, in bedaarde ouderwetschheid tiktakte de

klok, zacht-vlammig aangegloeid rond de gewichten.
—Guurt had ’t duifje losgedekt en daadlijk koerde z’n
kopje als van verre, droef door de kamerstilte heen,
waar alleen smakten en slurpten de wreede
werkersmonden, en de klok dreinerig ti-jik.… tàkte.…
—

Moeder Hassel lag, met opengesmakte deuren, de

kamer in te staren, bleek beslaapmutst hekserig
hoofd, op peluwgrauw, de uitgedoofde staaroogen
naar de slurpende kerels.—Ze hoorde koffie slurpen;
dàt geluid kende ze. Ze zag ’t, voelde, besnuffelde ’t,
met wilde, gesperde neusgaten.—Dàt geluid haakte
vast in ’r ooren, ’t hoofd, bleef in ’r herinnering
 leven.… Woest instinkt naar koffieslurp.—Telkens
gretig, even keek ze naar Guurt, als wist ze nu klaar,
dat ze ’t van die moest hebben. Maar de kerels hapten
door, slurpten onverschillig. Guurt klepperde nog ’n
roodaarden bord voor hen neer, waar ze weer hompen
brood op afsneed, slurpte zelf mee, gejaagd zittend op
stoelpunt, ongewasschen in blauwkorten onderrok nu.
Stil slurpte d’r mond in doorzond ochtendgoud van
kamer, ’r blond hoofd in stil aureool. Buiten, achter ’t
raam, glansden de akkers in aanbrandenden gloei van
zonnekomst.

—Nou Ouë, gromde Dirk plots, kauwend en slikkend

dat ie niet verder spreken kon eerst—aa’s ’tr nou moàr
puur om drie uur, de oarbei-boel dur stoan, an de
markt hee? daa’k [124]hullie om vaif uur an de kant hep
in de stad? kaa’k t’met nog ’n hooge markt moake..
hee?

—Sel d’r weuse.… mi sonder mekeere.… Hoho!

ho!.… Piet loait op.… en Kees goan de hoàfe
langest.…

—Hier-op-pan! aa’s Kees de hoafe opgoàn, ken ie

t’met oploaje ook.…

—Hoho! dà lief ’k nie! dà lief ’k nie.… die suupt te

veul.… die hep s’n skoenlappertjesmoandag.…
enne.… dá’!.…

—Wa’! Kees?.. Kees suipt?.… krijschte Dirk uit, ’n stuk

brood, dat ie half al in z’n mond gestopt had er weer
uithalend, met ’n web van fijne spoegdraadjes,—
f’rvloekt aa’s de fint één borrel lait! jai suinege Job!
 —Hoho! vier en vaife en nie g’nog! bars jai nie uit!..
soo vroeg in ’t morgeuur hee?.…

—Wa’.… éénmoal.. andermoal.. ikke wil dá’ Kees

oploait.. Piet hep s’n aige dood te plukke op haide.. En
denk dur om.… niks aa’s oarbaie.… Op haide voart de
boot twee keer!.… ikke goan doar.… om veur van …
om twaalf uur is t’ie d’r wair.… sel main ’n dotje weuse
op de kant!.. snof’rjenne, gain ploas om je klompe af
te trappe, waa’n klus.… ’n drukte op de boot.… sullie
dringe hoarlie aige t’met hardstikke dood.. hoagelvol!

Ouë Gerrit was opgestaan met ’n smak z’n koffiekop

op tafel neerstootend, dat vrouw Hassel in ’r bed
opschokte, iets brabbelend uitstamelde. Nog had
Guurt ’r geen leutje gebracht. Onrustig, hongerden ’r
oogen naar ’t zoete vocht, dat op stinkend
petroleumvlammetje konkelde en leuterde. Ze
besmakte ’r drooge lippen, zonder dat ze vragen
durfde, vragen kòn. Besefloos Guurt te roepen, uit
angst voor nijdigen snauw, in ban van trage dofheid,
bleef ze staren, vroeg ze toch met ’r oogen, zonder
dat iemand uit de aanlichtende kamer naar ’r omkeek.
Gerrit, handen in zakken geknuist, keek met z’n neus
op ’t raam gedrukt, naar buurman’s tuinderij, waar nu
alles groen-goud in den ochtend-tintel gloeide,
doorvonkt van dauwig druppelvuur.—Ochtendstilte, uit
paadjes en wegjes, [125]ruischte rond de
tuindershuisjes en de roode bedakingjes vlamden
licht-hel.—

Vandaag zou ie wat te plukken hebben, mijmerde

Gerrit, speelsch drukkend z’n neuspunt tegen ’t ruit,
 wiebelend op z’n hakken. Z’n rug zwoor en stak van
pijn. Maar ’t most, most nou. Hij had al dagen
achteréén onrustig zitten piekeren, dat ’r geen regen
kwam, gejaagd, nou de boel zoo droog stond. Maar
nou most ie maar doèn, doèn en niet seure.…

Met hun drieën waren de kerels over ’t erf den tuin

ingestapt. Guurt drentelde weer op ’t achterend,
spoelde en sjokte, terwijl de kamer in ruischender
glans van zonnige ochtendwarmte, sterker
aangoudde, tot op ’t slaapholletje waar vrouw Hassel
staarde, en besmakte ’r droge dorstlippen. Op de tafel
brokkelden nog broodhompen. Aarzelende glansjes
van schichtigen prismaschijn uit geslepen
spiegelrandje, kaatsten trillige vlakjes rood, goud en
groen, op twee rood-aarden doffe bordjes.

Daar stààrde ze op, vrouw Hassel, besefloos en traag,

tot ze de kleuren voor ’r oogen zag verflakkeren.—

Buiten hurkte Kees al, in pluk bij de erwten. Nog ’n uur

bleef Dirk werken op ’t land, achter de wortelen.
Eindelijk werd ’t tijd voor ’m om op te stappen naar de
haven. Nog ’n mandje pieterselie en postelijn,
schokkerde ie over den schouder en stil liep ie den
weg op naar de boot. Nou had ie zich nog puur te
haasten merkte ie, toen ie even achter ’t ruit gluurde,
hoe laat ’t was.—Kwart voor vijf. Om vijf uur precies
ging de schipper van wal.

Zwaar hijgend, z’n mandjes dobberend op z’n rug,

kwam ie snel de haven opbeenen. Maar „Tuinders
Geluk”, de boot waar hij mee voer, lag er nog rustig,
met vier andere schuiten achter d’r áán, hoog
gestapeld ’t schel-groene van kroppen, beflonkerend
aardbeirood en wortelenoranje, tegen den blauwen
luchthemel in, die diep en wijd lichtte, in strakke, fel-
heete zonnigheid al.—

Op àchter-en-voordek, stonden de groenboeren

saamgedrongen, in hun sjofele plunje, tusschen de
dreigstille punthoekende hurrie van hoog
opgestapelde kisten en mandwallen, waaruit
[126]zwavel-zoete geuren walmig verwasemden. Tot
onder den stuurstoel, stapel-brokkelden de
aardbeikisten en langs de reeling, propten,
saamgekneld, bakken, vaten, manden, zakken, dat de
kerels en vrouwen, in bochten er tegen elkaar
opgedrongen stonden. Enge doorgangetjes,
kronkelden tusschen de ladingen, waar ’t landvolk
elkaars lijf beschuurde, schreeuwerig verscharrelend
en ruilend koopwaar die ze te veel hadden. Tusschen
zakken gekneld, op manden of kisten neergestooten,
sjacherden de zwoegers, klonken òp de gesprekken,
levendig, krijscherig, overgoten van duffe
groentestanken uit de achterkajuit opwalmend, voos
en duf, zuur en ranzig. Aardbeien zoetten ’t hevigst en
weeïgst tusschen de mestige koolstanken.—Zwaar
dampte uit, in de broeierig lange boot, hageldicht
bestapeld, de stinkende kleeren der tuindersmannen
en vrouwen, de zweetlijven, wàrme walg tusschen de
gronderige stanken van ’t groen.—

Prachtig, jubel-fel schalden de hooge groentebergen

als festijnen van licht, tegen ’t doortrilde, in zon-
zwemmende lichtblauw. Daar onder, barokke wal van
kleur-woelige kisten, met donkerder groen in
 onderschepte glansdempingen. Maar hoog-
schuimend, gloeide kleurbrand van aardbeien boven
alles uit.—Versjofeld en kleurbemorst, scharrelden de
tuinders bijeen, in de vroege ochtendboot, al meer, al
méér, achter elkaar. Galm-luid, de klok van hoogen
katholieken kerktoren sloeg vijf, bevend in de wegstilte
en havenrust. Laatste bootsein van vertrek liet kapitein
zangbassen over de ochtendleege havenkaai.—Wat
karren met aardbei-aanvoer ratelhotsten kei-beukend
weer weg, wreed rumoerend door de morgenstilte.
Bas-zang van pijpen bleef seinen, als stemmegroet
van tuinders naar de verre makkers op ’t land, dat de
reis naar de stad beginnen zou. Een dekknecht van
„Tuinders Geluk”, had plankier gelicht en ingeschoven,
reeling saamgehaakt en kaptein was op z’n stuurstoel
geklommen. Statig liet ie draaien, ’t kanaal in.—Uit ’t
boothart schokkerde machinedreun òp. Achter ’m aan,
zongen pijpen van andere tuindersbooten, stemzwaar
en hevig vibreerend, dat de stille starende
ochtendlucht [127]sidderde onder ’t dreungeluid. Plots
klonk jagend geroep, onder zwaar lommerende
kastanjelaan uit, van twee groenboeren die zich
verlaat hadden en meemoesten nog met „Tuinders
Geluk”. In vlieggang holden ze langs de stille huizen,
kei en sintelpad over.

—Piet Groome en Anseeler, riepen ’n paar van de

boot, over de reeling gebukt,—hee keptain! t’rug!.…
twee van Lemmer! Hij had ’t al gezien, toeterde wat
zangerige woordjes door z’n spreekbuis naar
machinekamer, waarop boothart heviger bonkte, de
voorboeg achteruit bijdraaide, dat de kerels in
hollende vaart, rood-bezweet, nog net tusschen kisten
 en manden, over verschansing, heenklauteren
konden.—

Achter „Tuinders Geluk” lagen nog drie booten, „De

Dageraad”, „Ons Welvaren” en „Weltevreden” met
tuindersvolk van heinde en ver saamgestroomd,
ongeduldig wachtend op vertrek van de voorliggende
schuit. Ook daar stond ’t landvolk, achter en tusschen
de aardbei- en groentebakken opgepropt, ingekneld;
één donker-dreigende, sjofele kerels-stoet, vlak om ’t
koelscherm van machinekamer saamgepakt,
wegzwartend onder rookwolken van stoompijpen, die
dreun-zangerig doorbasten als duistere stem van
zwoeg, somber-smartelijk, in den fellen klaterenden
zonnegloei van polderlucht, in ’t eindeloos blauw, en
weigroen.—

Stil zoeften de booten achter elkaar áán, de kerels en

wat vrouwen, al meer opeengedrongen, donker
tusschen den frisschen jubel en stoeiende kleuren van
hun vruchten en waar. In de havenstilte, roerloos weer
na zwijg van pijpzang, verdwenen de booten één na
één onder lage spoorbrug, ’t kanaal in, dat wijd-
geplast, zilver-vonkte en dampte tusschen onmeetlijk
poldergroen. Stil druischten de kerels weg van wal, de
donkere opgepropte stoeten, in de ochtendglorie;
zittend of half hangend op en over de verschansing,
beklemd tusschen de neerbrokkeling der stinkende
kisten, als ’n bende vervuilde schooiers en
melaatschen, naarstiglijk verpakt en versjouwd, onder
den heeten jubel van hun vruchtengloed. Al de booten
waren „Tuinders Geluk” voorgedraaid. Langzaam
zoefte die eindelijk, achter [128]de andere áán, onder
 de enge spoorbrug, zacht-schuiflende pàl langs
wanden van brugbogen en pijlers.—

Dirk stond ingehurkt naast Klaas Grint, die weer

aanleunde, half tegen twee vrouwen, een lange, met
’n gore steekmuts op, de andere met ’n donker rood-
wollig kapertje over ’r hoofd gefrommeld. Vóór de
vrouwenbuiken, spannend gestrakt onder boezelaar,
hoekten kistenstapels waarachter weer ’n stoet kerels
gekneld stond.

—Tjonge.. Tjonge.. d’r’is nog puur wâ wind op de

ruimte hée?.. zei met vertrokken gezicht Klaas Grint,
naar de lucht kijkend.

—Daa’s net bromde Dirk terug.… hai jai ’n pruim

Kloas? nou he’k f’rdroaid main sak legge.… loate!.…

—Bi-jai’t Hain!.. lolde Grint, da’ sel woar wese.… roep

jai sàin d’r bai op Sint Jan hee?.… hier!.. pak-àn..
moar mondjes-moat.… oue!

„Tuinders Geluk” was ’t groote kanaal ingestoomd.

Zacht kabbelden watergeruisch en schuim-zilverende
vloedgolfjes langs de kanten. Zweef-luchtig zoefte ’t
schip voort, tusschen ’t eindelooze poldergroen,
bedauwfonkeld met vuurdroppels van trillend leven,
robijnen weerlichtjes, en vurig smaragd.… Uren ver,
verfonkelde nat goud-groen, glanzend en uitwebbend
kleurige hette. Heerlijk frissche windbries stoeide
luchtzuiverend om de boot, de voosduffe geuren en
stank-wasem wegflapperend, ’t koele waterruim in. ’n
Troep tuinders was achter de pijp geklommen, op
zwarten kop van machinescherm, waar ze luiig
neerhurkten in zonnegloei, of schuin opstonden achter
den rooker, koppen fel omlijnd tegen luchtjubelblauw.
Er was drukke stemmenhurrie onder ’t landvolk,
gesnater en gelach tegen vrouwen, en overal
brandende lust om van landgescharrel, marktwaar en
prijzen te spreken. ’n Paar tuinders met fluweelig
pilow-zwarte vesten en dof-zijden pofpetten,
trommelden met hun gekleurde pantoffels, op ’t
verhitte plaatdek van machinekamer, ’n orgeldeun
meelallend. Plots de bootbode, kerel met
roodgezwollen snuit, akteurskaal en voor-den-
gekhouerigen, paarsen drinkebroersneus, werkte zich
los uit [129]stemmenroezemoes en scharrel van
opgepropte tuinderstroep.—Z’n blauwig-glad
geschoren komiekenkop grinnikte leukjes tegen z’n
volkje en grimassig sprong ie op ’t veilbankje, hoog
boven woel-massa uit, grabbelend in guitig steel-
gebaar, met z’n hand in ’n grauwen zak.—Tegenover
hem, op zon-doorhit koelscherm, zat luiig ingedoken
tegen de pijp, ’n kerel met notitie-boekje, klaar om te
schrijven. Bootbode, die onder reis van Wiereland
naar groote stad, te veel waar van tuinders-zelf in
veiling moest brengen, bleef rammelen in z’n zak,
lolde wat tegen de kerels onder ’m, dat z’n
roodfrissche wangen bolschaterden, sterker zwollen,
z’n blanke tanden uitwitten onder z’n bieteneus en
tusschen plaatjes-mooie helrooie lippen, hagelrein.
Hard en stalig klonk z’n stem, toch vol, met ’n galm er
in, als nadreun van klokgelui. Telkens uit den zak,
vischte ie ’n blikken nummertje op, afroepend wie d’r ’t
eerst veilen zou. Zoo regelde hij de beurten, schreef
z’n maat, tegen de pijp, in kookzon luiig weggedoken,
namen van veilers op.—
—Wie mot ’r ’n nommer?.… Gijs Janse! Kaike?.. daa’s
vaiftien, klonk hard-galmend z’n stem door den koelen
bries-stoei, klank-zangerig Wierelandsch.

—Bekermaa’n.… achttien?.… Grint.… drie en veertig!

Hassel.… ses-en-dertig!.…

—Main d’rook ain!.. riep ’n tuinder uit achtergroepje,

die nog wat kwijt wou wezen, hopend op ’n begin-
nummer, om ’t eerst te kunnen veilen.

—Vaif-en-veertig!.. Nailis Roskam.… hee! „netoàris”…

Roskam!—lachte de Bode, lolligjes met oolijken
oogenknik naar den „schrijver-notaris”, die luiiger
weggedoken lag achter de pijp.

—Logge megoggie! nou ka je wachte, gromde de

pachter, woest dat ie zoo’n laat nummer beet had.
Nou was ie zoo heet geweest op ’n begin-blikkie.—
Stem van Bode bleef afgalmen de nummers met veil-
namen, en telkens lacherig, uitblankend z’n tanden,
bloed-rooie lippenmond wijd open, kraaide ie
schooirige grapjes uit, strooide ie schalksheidjes en
hekelwoordjes boven hun hoofden rond, omgierd van
terugkonkelende [130]stemmen en giegelende
kreetpretjes. Telkens klauterden andere kerels op en
af ’t machinescherm, naast en tegen de pijp
lawaaiend, rond den „notaris”, die overal spottend om
z’n eeretitel beschaterd werd. Van hun hooge
standplaats schreeuwden ze mee, boden, kochten en
verscharrelden, de koppen, warm en zweetbedropen,
paarsig en brons-nat, rood en geel-grauw aangegloeid
in zonnebrand. Van achterdek af was alles plots naar
voren gedrongen om vlak bij Bode te staan. Op kisten,
morsige vaten, walm-stinkende manden en zakbulten,
hingen en hurkten de kerels, in struikel en klauter,
achter elkaar opgepropt.

De achtersten, ver van den Bode, loerden tusschen

schoudergeultjes van vóórstaanden, in drom
saamgestrompeld, heet op den scharrel.

—Veertig! vrouw Plenk.… dreunde Bodestem.… vaif..

vrouw Boterblom.… naigtien.… mamselle Kiester.…
sestien.… vrouw Zeune!.…

Eindelijk had ieder z’n nummer, kon de veiling

beginnen. Zacht briesden en woei-koelden luchtige
windscheringen over ’t smoezelige, walm-stankige
dek, als ging er tochtige wiekslag van vliegende
vogels rond. Recht voor den boeg, sprankelden
waterglanzige sparteltjes licht, violet-zilverig, paars-
goud, kabbel-deinend hemelblauw-vuur, dat in
schuimig golfjes-spel zich heet verbraste in damp.
Tusschen de fel-groen bezonde ochtend-oevers,
komde in eindloozen kring, ’t vlakke zonnignevelende
polderland, in vochtige ochtendpracht. En overal
rondgekringd, goudden de lage hooi-schelfjes,
tusschen siddergroei van korenhalmen, brokken
weiland, ontsluierd uit morgennevel, uit nat-dampig
goud en zilverende gloeiingen. Schitterig flitste ’t
dauw-vuur, dat mijlen ver, weiland aan weiland in
arabesk vonkspel omtooverde.

Bode op z’n bank, hoog boven de opgepropte tuinders

uit, al dichter op één punt van de boot
bijeengedrongen, klankte met z’n jolige, rauw-heldere
spotstem in: