In ancient India wisdom and sensuality were seen as two sides of an identical coin. To hold close and take pleasure in sex was considered to be a fundamental ingredient in the expedition of life to be enjoyed without culpability.
Sexuality was at the very spirit of all Hindu culture, including poetry, art, and music. Ancient Hindu sages preached the magnitude of sexual love; temple walls and religious caves were carved with delicately erotic sculptures; and Hindu paintings detailed unambiguous sexual activities.
One text has prominently stood the test of time to become the state-of-the-art sensible guide to great sex: the Kama Sutra of Vatsyayana.
Barely anything is known about Vatsyayana himself. His real name was purportedly Mallinaga or Mrillana, Vatsyayana being his family name. At the closing stages of his work, Vatsyayana wrote:
‘After reading and considering the works of Babhravya and other ancient authors, and thinking over the meaning of the rules given by them, this treatise was composed, according to the precepts of the Holy Writ, for the benefit of the world, by Vatsyayana, while leading the life of a religious student at Benares, and wholly engaged in the contemplation of the Deity. This work is not to be used merely as an instrument for satisfying our desires. A person acquainted with the true principles of this science, who preserves his dharma, his artha and his kama, and who has regard for the customs of the people, is sure to obtain mastery over his senses. In short, an intelligent and knowing person, attending to dharma and artha and also to kama, without becoming the slave of his passions, will obtain success in everything that he may do…’
Though it is unfeasible to put an exact date on Vatsyayana's life or work, based on certain references in his work, it is presumed that he lived sometime between the 1st and 6th century A.D.
Vatsyayana mentions that Satakarni Satavahana, a king of Kuntala, seized with the passion of love, deprived Malayavati, his wife, of her life by using kartari, a highly ardent scissor-like grip.
Vatsyayana quotes this to warn lovers of the danger of such practices when under the influence of an all-consuming passion. Since this king of Kuntala is believed to have lived and reigned during the 1st century A.D., Vatsyayana must have lived after him.
Varahamihira, who is believed to have lived during the 6th century, wrote ‘Brihatsamhita’, the Science of Love. In the 18th chapter he appears to have borrowed largely from Vatsyayana on the subject. Therefore Vatsyayana must have written his works earlier, though not earlier than the 1st century A.D., and not later than the 6th century.
The book consists of 36 chapters organised into 7 sections containing 1,250 verses. It examines 4 purusharthas or necessary ends of worldly human action:
1) Dharma (merit and virtue),
2) Artha (prosperity and authority),
3) Kama (pleasure) and
4) Moksha (deliverance) –
The book offers all-inclusive advice for a good and pleasurable life.
Although the guidance is offered from the vantage point of a sophisticated but virtuous male, it also pertains to women, with tips that cover almost every aspect of living, from youth through courtship, romance, sex and marriage.
It tells males and females what to wear, what to eat, with whom to socialise, and how to act in order to achieve the power that will be a magnet for others. Members of both genders are counselled to become well-versed in the arts of pleasure in all of its forms.
As after-dinner warm-up entertainments, the author chiefly recommends a list of ‘well-known games peculiar to different regions, like plucking the mango, eating roasted grain, nibbling lotus stems, collecting new leaves, squirting water, pantomimes, the silk-cotton tree game, and mock-fights with wild jasmine flowers.’
When it comes to sexual interaction, the author devotes broad attention to diverse methods of embracing, kissing, scratching, biting, hitting and moaning, oral sex and coital positions.
Four of the ‘embraces at the time of actual sexual union’, for example, include the ‘twining creeper’, the ‘climbing a tree’, the ‘sesame seeds and rice grains’, and the ‘milk and water’. Another involves using the thighs ‘like a pair of tongs’.
It sanctions sexual relations on grounds of pleasure, not just reproduction, and allows that females can also achieve orgasm.
Given that it was written so long ago, in a culture that the West has always alleged to be intensely rooted in misogynist traditions, the Kama Sutra’s philosophy of gender relations seems outstandingly progressive.
When the Kama Sutra was published for the general readership at the height of the Western sexual revolution in the 1960s, people were astonished by the diversity and portrayals of its lovemaking positions.
In the West, sex had been a repressed subject for a long time and was viewed as a conserve for male enjoyment merely. Women’s sexuality and sexual needs were hardly ever discussed or even acknowledged. It was extensively accepted that women put up with sex to please their husbands and to bear children. Unexpectedly, the West discovered what the East had known for thousands of years—that women were as orgasmic as men and could derive as much pleasure and contentment from sex as their partners.
Not only that, the skeptical Western reader also discovered that there were many other lovemaking positions to be thoroughly enjoyed over and above the male-dominant “Missionary position.”
The Kama Sutra is incredible for its non-judgmental and very no-nonsense approach to sexual matters, and a profusion of its teaching remains pertinent and fascinating to the modern man and woman.
The Kama Sutra certainly makes it very obvious that the woman’s approval is as important as the man’s and recent research confirms that most men now share this opinion.
Modern translations of the book demonstrates that Vatsyayana’s text was perhaps more noninterventionist and democratic than was formerly thought, and that Burton’s translation—though a superb attainment for its time—is marred by Victorian squeamishness and roundabout language that was not evident in the original Sanskrit.
The new translators even go so far as to suggest that Burton infrequently adapted the text to slot in Victorian values.
A predominantly unconcealed example is Burton’s translation of Vatsyayana’s description of what a woman should do when her husband is unfaithful:
“She should not blame him excessively, though she be a little displeased. She should not use abusive language toward him, but rebuke him with conciliatory words.”
The modern translation reveals that Vatsyayana in fact advised that the woman should reprimand her husband with rude language, whether he is alone or in company. These are two very dissimilar interpretations.
The Kama Sutra was written during a period of economic growth with greater scope for stylish living, and of increased cultural activity, in a society which recognized the legitimacy of pleasure as a basic human pursuit, along with that of virtue and wealth.
It expounded on the first, but also urged a balance with the other two, as is evident from the final verse of its epilogue.
Its meticulous expositions on the lifestyles of cultivated gentlemen and trendy courtesans give some idea of the audience to which it was addressed.
Later literary evidence would indicate that both used it as a guide for recreational and professional purposes. But it also dwells on other matters, particularly of marital import, such as:
1) The aesthetic education of girls;
2) The wooing of a prospective bride;
3) The role of partners in matrimony, monogamous as well as polygamous;
4) Romantic relationships outside marriage, and
5) Erotic techniques for the enhancement of sensual pleasure.
It is thus a practically all-inclusive guidebook on loving and living, and deals both with modern issues and others which are eternal.
Attitudes toward sex are continuously in flux, not only because of generational, religious, and cultural differences, but also because of ever-changing attitudes towards matters of health, economics, gender relationships, and societal conditions. Sexual matters that shock one group of people may be regarded as inconsequential or simply titillating by another.
Today, sex is no longer the forbidden subject that it once was in the West. The pendulum has in fact swung, and sex is all around us in the media, advertising, and the arts. All too often it is portrayed as a selling point without any emotional content. Regularly, it is presented as a combat zone between men and women: who dictates, who gets the better orgasm, and who lasts longer.
There is little mystery and romance to this modern-day depiction of sexuality.
Therefore, in the spirit of the original Kama Sutra, it should be the endeavour of the readers to remind themselves that good sex is developed out of deference for the distinctions and the similarities of the sexual and emotional needs of men and women.