Ananga Ranga E-Book

Sir Richard Francis Burton (translator)

• Herausgeber: E-BOOKARAMA
• Kategorie: Ratgeber
• Sprache: Englisch
• Veröffentlichungsjahr: 2024

Beschreibung

The book "Ananga Ranga" ( Stage of Love) was written by Kalyana Malla as an Indian sex manual in the 15th or 16th century in the Sanskrit language. The book was translated by Richard Francis Burton into English in 1885 and includes nine chapters and two appendixes. 
The "Ananga Ranga" is one of the three great erotic texts of the East. Most passages describe sexual contortions, but some pertain more to the conjuring of demons. Certain sections strangely resemble passages of the "Key of Solomon" and other ceremonial magic texts.
The poet wrote the work in honour of Lad Khan, son of Ahmed Khan Lodi. He was related to the Lodi dynasty, which from 1451 to 1526 ruled from Delhi. Later commentators have said it is aimed specifically at preventing the separation of a husband and wife.

Leseprobe

translated by Richard Francis Burton

Ananga Ranga

Table of contents

ANANGA RANGA

Introduction

CHAPTER 1

Section 1. Of The Four Orders Of Women

Section 2. Personal Peculiarities Of The Four Classes

Section 3. The Days Of Greatest Enjoyment For The Four Classes

Section 4. Of The Hours Which Give The Highest Enjoyment

Chapter 2. Of The Various Seats Of Passion In Women

CHAPTER 3. OF THE DIFFERENT KINDS OF MEN AND WOMEN

Section 1. Men

Section 2. Women

Section 3. Of Congress

Section 4. Of Other Minor Distinctions In Congress

Chapter 4. Description Of The General Qualities, Characteristics, Temperaments, Etc, Of Women

Chapter 5. Characteristics Of The Women Of Various Lands

Chapter 6. Treating Of Vashikarana

Chapter 7. Of Different Signs In Men And Women

Chapter 8. Treating Of External Enjoyments

Chapter 9. Treating Of Internal Enjoyments In Its Various Forms

Appendix 1. Astrology In Connection With Marriage

Appendix 2

ANANGA RANGA

Translated by Sir Richard Francis Burton

Introduction

MAY you be purified by Parvati 1 who coloured the nails of her hands, which were white like the waters of Ganges, with lac after seeing the fire on the forehead of Shambhu; who painted her eyes with collyrium after seeing the dark hues of Shambhu's neck and whose body-hair stood erect (with desire) after seeing in a mirror the ashes on Shambhu's body.

I invoke thee, O Kamadeva! thee the sportive; thee, the wanton one, who dwellest in the hearts of all created beings;

Thou instillest courage in time of war; thou destroyedst Sambar' A'sura and the Rakshasas; thou sufficest unto Rati 2, and to the loves and pleasures of the world;

Thou art ever cheerful, removing uneasiness and overactivity, and thou givest comfort and happiness to the mind of man.

King Ahmad was the ornament of the Lodi House. He was a Sea, having for waters the tears shed by the widows of his slaughtered foes, and he rose to just renown and wide-spread fame. May his son Lada Khan, versed in the Kama Shastra, or Scripture of Love, and having his feet rubbed with the diadems of other kings, be ever victorious!

The great princely sage and arch-poet, Kalyana Malla versed in all the arts, after consulting many wise and holy men, and having examined the opinions of many poets, and extracted the essence of their wisdom, composed, with a view of pleasing his sovereign, a work which was called Ananga Ranga 3. May it ever be appreciated by the discerning, for it hath been dedicated to those who are desirous of studying the art and mystery of man's highest enjoyment, and to those who are best acquainted with the science and practice of dalliance and love-delight.

It is true that no joy in the world of mortals can compare with that derived from the knowledge of the Creator.

Second, however, and subordinate only to this, are the satisfaction and pleasure arising from the possession of a beautiful woman. Men, it is true, marry for the sake of undisturbed congress, as well as for love and comfort, and often they obtain handsome and attractive wives.

But they do not give them plenary contentment, nor do they themselves thoroughly enjoy their charms. The reason of which is, that they are purely ignorant of the Scripture of Cupid, the Kama Shastra; and, despising the difference between the several kinds of women, they regard them only in an animal point of view.

Such men must be looked upon as foolish and unintelligent; and this book is composed with the object of preventing lives and loves being wasted in similar manner, and the benefits to be derived from its study are set forth in the following verses:--

"The man who knoweth the Art of Love, and who understandeth the thorough and varied enjoyment of woman;

"As advancing age cooleth his passions, he learneth to think of his Creator, to study religious subjects, and to acquire divine knowledge:

"Hence he is freed from further transmigration of souls; and when the tale of his days is duly told, he goeth direct with his wife to the Svarga (heaven)."

And thus all you who read this book shall know how delicious an instrument is woman, when artfully played upon; how capable she is of producing the most exquisite harmony; of executing the most complicated variations and of giving the divinest pleasures.

Finally, let it be understood that every Shloka (stanza) of this work has a double signification, after the fashion of the Vedanta, and may be interpreted in two ways, either mystical or amatory.

CHAPTER 1

Section 1. Of The Four Orders Of Women

First, let it be understood, that women must be divided into four classes of temperament. These are:--

1. Padmini 2. Chatrini; 3. Shankhini; and 4. Hastini.

The same correspond with the four different phases of Moksha, or Release from further Transmigration. The first is Sayujyata, or absorption into the essence of the Deity; the second is Samipyata, nearness to the Deity, the being born in the Divine Presence; the third is Sarupata, or resemblance to the Deity in limbs and material body; the fourth and last is Salokata, or residence in the heaven of some especial god.

For the name of woman is Nari, which, being interpreted, means "No A'ri", or foe; and such is Moksha, or absorption, because all love it and it loves all mankind.

Padmini, then, means Sayujyata, also called Khadgini-Moksha (Sword-release), the absorption of man into the Narayan (godhead), who lives in the Khshirabdi, or Milk-sea, one of the Seven Oceans, and from whose naval sprang the Padma, or Lotus-flower.

Chitrini is Samipyata-Moksha, like those who, having been incarnated as gods, perform manifold and wonderful works. Shankhini is Sarupata-Moksha, even as the man who takes the form of Vishnu, bears upon his body the Shankha (conch shell), the Chakra or discus, and other emblems of that god. The Hastini is Salokata-Moksha, for she is what residence in Vishnu's heaven is to those of the fourth class who have attributes and properties, shape and form, hands and feet.

Section 2. Personal Peculiarities Of The Four Classes

And now learn ye by these words to distinguish from one another the four orders of woman-kind.

She in whom the following signs and symptoms appear, is called Padmini, or Lotus-woman. 4 Her face is pleasing as the full moon; her body, well clothed with flesh., is soft as the Shiras5 or mustard-flower; her skin is fine, tender and fair as the yellow lotus, never dark-coloured, though resembling, in the effervescence and purple light of her youth, the cloud about to burst. Her eyes are bright and beautiful as the orbs of the fawn, well-cut, and with reddish corners. Her bosom is hard, full and high; her neck is goodly shaped as the conch-shell, so delicate that the saliva can be seen through it; her nose is straight and lovely, and three folds of wrinkles cross her middle, about the umbilical region. Her Yoni6 resembles the open lotus-bud, and her Love-seed (Kama-salila, the water of life)7 is perfumed like the lily which has newly burst. She walks with swanlike gait, and her voice is low and musical as the note of the Kokila-bird8; she delights in white raiment, in fine jewels, and in rich dresses. She cats little, sleeps lightly and, being as respectable and religious as she is clever and courteous she is ever anxious to worship the gods, and to enjoy the conversation of Brahmans. Such, then, is the Padmini, or Lotus-woman.

The Chitrini, or Art-woman 9, is of the middle size, neither short nor tall, with bee-black hair, thin, round, shell-like neck; tender body; waist lean-girthed as the lion's; hard, full breasts; well-turned thighs and heavily made hips. The hair is thin about the Yoni, the Mons Veneris being soft, raised and round. The Kama-salila (love seed) is hot, and has the perfume of honey, producing from its abundance a sound during the venereal rite. Her eyes roll, and her walk is coquettish, like the swing of an elephant, whilst her voice is that of the peacock10. She is fond of pleasure and variety; she delights in singing and in every kind of accomplishment, especially the arts manual; her carnal desires, are not strong, and she loves her "pets", parrots, Mainas and other birds. Such is the Chitrini, or Art-woman.

The Shankhini 11, or Conch-woman, is of bilious tempermament, her skin being always hot and tawny, or dark yellow-brown; her body is large, or waist thick, and her breasts small; her head, hands, and feet are thin and long, and she looks out of the corners of her eyes. Her Yoni is ever moist with Kama-salila, which is distinctly salt, and the cleft is covered with thick hair. Her voice is hoarse and harsh, of the bass or contralto type; her gait is precipitate; she eats with moderation and she delights in clothes, flowers and ornaments of red colour. She is subject to fits of amorous passion, which make her head hot and her brain confused12, and at the moment of enjoyment, she thrusts her nails into her husband's flesh. She is of choleric constitution, hard-hearted, insolent and vicious; irascible, rude and ever addicted to finding fault. Such is the Shankhini, or Conch-woman.

The Hastini is short of stature; she has a stout, coarse body, and her skin, if fair, is of a dead white; her hair is tawny, her lips are large; her voice is harsh, choked, and throaty ( voix de gorge) and her neck is bent. Her gait is slow, and she walks in a slouching manner; often the toes of one foot are crooked.

Her Kama-salila has the savour of the juice which flows in the spring from the elephant's temples. She is tardy in the Art of Love, and can be satisfied only by prolonged congress, in fact, the longer the better, but it will never suffice her.

She is gluttonous, shameless, and irascible. Such is the Hastini, or elephant-woman. 13

Section 3. The Days Of Greatest Enjoyment For The Four Classes

Having thus laid down the four classes of womankind, Kalyana Malla, the arch-poet, proceeds to give a table of the time in which each order derives the greatest amount of pleasure from the venereal rite. These periods must be learnt by heart, and students will remember that on the other days not specified, no amount of congress will satisfy passions. Read, then, and master the elements.

Table 14

Pratipada 1st day

Dvitiya 2nd day

Chaturthi 4th day

Panchami 5th day

Satisfy the Padmini

Shasbati 6th day

Ashtami 8th day

Dashami 10th day

Dwadashi 12th day

Satisfy the Chatrini

Tritiya 3rd day

Saptami 7th day

Ekadashi 11th day

Trayodasi 13th day

Satisfy the Shankhini

Navami 9th day

Caturdashi 14th day

Purnima Full Moon

Amavasya New Moon

Satisfy the Hastini

Section 4. Of The Hours Which Give The Highest Enjoyment

Women, be it observed, differ greatly in the seasons which they prefer for enjoyment, according to their classes and temperaments. The Padmini, for instance, takes no satisfaction in night congress; indeed, she is thoroughly averse to it. Like the Surya Kamala (day-lotus) which opens its eyes to the sunlight, so she is satisfied even by a boy-husband in the bright hours. The Chitrini and the Shankhini are like the Chandra Kamala, or night-lotus, that expands to the rays of the moon; and the Hastini, who is the coarsest, ignores all these delicate distinctions. The following tables, then, show the Pahar, 15 or watch of the night and day, during which the four classes of women derive the greatest pleasure.

Table I

Regulating the Night Hours

1st Pahar 6-9 p.m.

2nd Pahar 9-12 p.m.

3rd Pahar 12-3 a.m.

4th Pahar 3-6 p.m.

"

"

"

The Padmini

The Chitrini

"

"

"

"

"

The Shankhini

"

The Hastini

The Hastini

The Hastini

The Hastini

Table II

Regulating the Day Hours.

1st Pahar 6-9 p.m.

2nd Pahar 9-12 p.m.

3rd Pahar 12-3 a.m.

4th Pahar 3-6 p.m.

The Padmini

The Padmini

The Padmini

The Padmini

"

"

The Hastini

The Hastini

And here it will be observed that the Chitrini and the Shankhini derive no satisfaction from day congress. Thus did the arch-poet, Kalyana Malla, relate unto Ladkhan Rajah how women are divided into four classes, each of which has its own peculiarity of body and mind, and its several times of enjoyments, according to the state of the moon and the hour of the day or night.

Chapter 2. Of The Various Seats Of Passion In Women

And, further, let men know that passion resides in different parts and members of the woman's person, and that by applying to these the necessary Chandrakala 16 or preparatory attouchements, great comfort and pleasure are experienced by both husband and wife. On the other hand, if the process placed in the table opposite the respective days of the lunar fortnight be not performed, neither sex will be thoroughly satisfied; indeed, both will be disposed to lust after strange embraces, and thus they will be led by adultery into quarrels, murders, and other deadly sins, all of which may be avoided by studying and bearing in mind the Chandrakala.

Passion resides in the woman's right side during the Shuklapaksha, the first or light fortnight of the lunar month, from new moon to full, including the fifteenth day. The reverse is the case on the dark fortnight, including its first day, and lasting from the full to the new moon. The shifting is supposed to take place by the action of light and darkness, otherwise the site of passion would be one and the same.

Now from generals, Kalyana Malla, the poet, proceeds to particulars, and supplies details concerning the four different classes of women. He begins with the Padmini, and shows, firstly, in what limb or member passion resides; and, secondly, by what process it can be satisfied. The husband must continue his action till. he sees the body-hair bristle, and hears the Sitkara 17--the inarticulate sound produced by drawing in the air between the closed teeth. Thus he will know that the paroxysm has taken place, and the beloved one is thoroughly satisfied.

General Table III:

Table IV

Showing the Manipulations of the Padmini

Table V

Showing the manipulations of the Chitrini