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INDIAN SOCIETY |
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India,
Bharat, Hindustan … |
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… A society as contradictory as the land is colorful. Past and present, |
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all jumbled together. Change and continuity existing cheek by jowl. |
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One set of statements on contemporary |
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India is likely to be as true as any
other. |
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A set may go like this: Indian
society is |
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changing rapidly. The impact
of modern |
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media,
especially television, is |
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revolutionizing
the relationship between |
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the sexes. Women are
demanding a much |
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greater role for
themselves. In both
love |
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and work.
Sexual permissiveness is on the |
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rise.
The power balance between the |
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generations has shifted. The young are
no |
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longer respectful of the aged. The
social |
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landscape is in a state of flux.
Western |
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culture has penetrated deeply
into the |
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urban areas. Religion and
religious values |
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are in a process of decline. |
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Yet another set of statements, equally true,
may |
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go like this. Under all apparent signs of
modernity, |
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Indian society remains deeply
conservative. More |
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than three quarters of all
Indians still have their |
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first sexual experience
within marriage. Children |
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and family remain
the priority of all women. Even |
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of those dedicated to their careers.
The family, |
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with its traditional patterns of command and |
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deference, remains the cornerstone of
Indian |
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society. Far from declining, religion
is enjoying
an |
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unprecedented revival. The
heyday of Western |
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style individualism is long
over. People are again |
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turning to family and
community in search of |
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meaning. The Indian
vision of fulfilled life remains |
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unchanged. |
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This page will seek to resolve the contradictions where it can and explore them in all their
fascinating |
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detail when it cannot. It will travel into the past whenever a perspective on
the present is needed. It |
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will bring to life the continuities and changes in the arena of
intimate relations, in marriage and the |
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family. It will take a searching look at the
emerging trends in the evolution of the Indian
middle |
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class.
It will highlight the social and religious conflicts that often threaten to tear apart the fabric of |
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Indian society. But, above
all, it will celebrate the essential spirit of an age-old civilization
that has |
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perfected
the art of transforming the alien into the familiar. Of Indianizing social forms and patterns |
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which first enter the country as foreign imports. |
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We will begin
with the perennially |
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fascinating
question of the relationship |
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between the
sexes. And, yes, with |
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sexuality. We
will first travel to the |
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past, to the
"golden age" of Indian |
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civilization.
What were our ancient |
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sexual mores
and attitudes? How have |
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they changed
over the centuries? What |
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are the
contemporary trends in intimate |
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relations? |
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The journey will take many months and begins with the
Kamasutra. Yes, Sanskrit dramas |
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and love poetry give us tantalizing glimpses of the ways men and women fantasized about |
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and approached each other. But if one really wants to know about intimate relations in the |
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classical age, there is no better source than the
Kamasutra. An ancient book that is also |
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startlingly modern in many of its attitudes. A text as maligned as it is misunderstood. For |
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the
Kamasutra, as most people think is not about positions in sexual intercourse. It is, as |
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Wendy Doniger remarks in a soon to be published translation (with Sudhir
Kakar), about |
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finding a partner, maintaining power in a marriage, committing adultery, living as or with |
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a courtesan, using drugs-and also about the positions in sexual intercourse. |
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home |
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prologue |
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THE KAMASUTRA |
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welcome |
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contents |
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The Kamasutra is a treasury of information |
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about sexuality in ancient India. No other |
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existing text, literary or scientific, comes even |
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close to it in revealing the sexual attitudes of |
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our ancestors. The Kamasutra tells us about |
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the place of pleasure in the ancient scheme of |
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things. Especially vis-a-vis morality. It tell us |
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what the ancients thought about the sexuality |
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of women. About marriage. About homosexuality. |
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adultery. Prostitutes, male and female. But |
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before we look at the different sexualities, we |
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need to first get acquainted with the text itself. |
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subject
moderators |
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history |
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sexuality |
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social
landscapes |
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art |
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dance |
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literature
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music |
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cinema |
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environment |
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economics |
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pot pourri |
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feedback
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What is the
Kamasutra? |
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First, it is the oldest existing textbook of erotic love in India. It was composed in Sanskrit, |
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the literary language of the classical period. Its authorship is attributed to Mallanaga |
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Vatsyayana.
Nothing is known about the author except, as he tells us in the text, he |
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composed it "in chastity and in the highest meditation." It was these words that led me |
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to call my fictional biography of the author of the
Kamasutra, published a couple of years |
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ago, "The Ascetic of Desire." |
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Vatsyayana also tells us that the Kamasutra is not |
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an original text but a distillation of the works of |
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other authors who preceded him. They are |
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Shvetaketu Auddaliki and Babhravya who wrote |
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standard works on the subject. But also |
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Suvarnanabha who wrote on erotic advances, |
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Ghotakamukha on the seduction of girls, |
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Gonardiya on the duties and rights of a wife, |
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Gonikaputra on sexual relations with other men's |
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wives, Dattaka on courtesans and Kuchumara on |
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occult sexual lore. All these works are lost. |
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The
Kamasutra, then, is not the first text in the Hindu science of erotics. Nor was it the
last. Many
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others
followed. All acknowledged Vatsyayana's pre-eminence. The best-known of the later texts
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are Kokkaka's Ratirahasya (pre-13th century), well-known today under
the name of Kokshastra,
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Kalyanmalla's Anangranga (15th century), Bhikshu Padamshri's
Nagarasarvasva and Jyotirishvara's
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Panchasayaka (11th to 13th centuries). The date of
Kamasutra's own composition is uncertain.
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Though different dates between the 1st and
5th centuries have been advanced by scholars, the best
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guess is that it was written
sometime in the second half of the 3rd century.
Most believe that it was
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composed in
North or Northwestern India. Why North? Because the text exhibits a detailed knowledge
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of this part of the country. And it is often condescending, if not downright disapproving
when it talks
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of sexual practices in the eastern and southern parts of India.
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Most of the Kamasutra is in the form of sutras. A |
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sutra, literally a thread, on which pages (palm leaves) |
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or thoughts
are strung, is a prose aphorism. A sutra is |
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generally so
condensed and cryptic that its meaning |
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is not
completely clear. It often needs the help of a |
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commentary
before the meaning reveals itself. The |
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best known
commentary on the Kamasutra is from |
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the 13th
century. This is the Jayamangla by |
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Yashodhra
which nowadays always accompanies the |
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original text.
The Kamasutra is not entirely in prose. A |
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few verses,
shlokas, are cited at the end of each |
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chapter.
Generally, the prose parts describe what |
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people actually do while
the verses are more |
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imperative in tone. They tell people
what they should |
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do. We do not know the origins of
these verses. They |
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may derive from other, unknown
texts or composed |
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by Vatsyayana himself. |
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The Kamasutra is divided into seven parts: General Observations, Sexual Approaches,
Seduction of |
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a Virgin, Rights and Duties of a Wife, Other Men's Wives, On Courtesans
and, Occult Sexual Lore. Of |
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these, the second part, with its description of positions of
sexual intercourse, of caresses, kisses, |
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scratches and love bites, is the best known. Or,
rather, notorious. The primary aim of all the chapters |
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is the pursuit of pleasure. Actual
sources of pleasure in classical India are
surveyed. Other sources |
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of pleasure are
suggested. Yet, besides the sex, the Kamasutra has a great deal
of information |
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about
daily life in ancient India. About fashion. Food. Games. Drugs. But also
about the banal aspects |
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of housekeeping. But enough on the architecture of the
Kamasutra. The next time we'll enter one of |
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the rooms of this grand edifice. The Women's Room. That is,
we'll discuss the theme of women and |
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sexuality. Not only in the Kamasutra but also in
ancient India. |
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Love,
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Sudhir
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