Karatadana, as the word denotes, 20 are soft tappings and pattings with the hand, by the husband or the wife, upon certain members of each other’s persons. And in this process there are four divisions, which the man applies to the woman:
1. Prasritahasta, or patting with the open palm.
2. Uttanyahasta, the same reversed; done with the back of the hand.
3. Mushti, or striking gently with the lower or fleshy part of the closed hand; softly hammering, as it were.
4. Sampatahasta, or patting with the inner part of the hand, which is slightly hollowed for the purpose, like the cobra’s hood.
And here may be specified the several members that should thus be operated upon. First, the flesh below the ribs, with No. 1. Second the Mons Veneris and vicinity of the Yoni; also with No. 1. Third, the bosom and breasts, with No. 2. Fourth, the back and hip, with No. 3. Fifth, the head with No. 4.
There are also four corresponding divisions of the practices used by the woman to the man:
1. Santanika, a name given by learned men to the act of a wife gently patting with the closed fist her husband’s breast when the two have become one, so as to increase his pleasure.
2. Pataka is when the wife, also during congress, pats her husband gently with the open hand.
3. Bindumala is the name given only by men when the wife, at the time of coition, fillips her husband’s body with the thumbs only.
4. Kundala is the name given by the older poets when the wife, during copulation, fillips her husband’s body with thumb and fore-finger, not with the rest of the hand.
And now of the Sitkriti, or inarticulate sound produced by drawing in the breath between the closed teeth; these are the peculiar privilege and prerogative of women, and the wise divide them into five kinds:
1. Hinkriti is the deep and grave sound, like “Hun! Hun! Hun!”, or “Hin! Hin! Hin!” 21 produced in the nose and mouth with the slightest use of the former member.
2. Stanita is the low rumbling, like distant thunder, expressed by “Ha! Ha!” or by “Han! Han! Han!” produced by the throat without the concurrence of the nasal muscles.
3. Sitkriti is the expiration or emission of breath, like the hissing of a serpent, expressed by “Shan! Shan!” or “Shish! Shish!” and produced only in the mouth.
4. Utkriti is the cracking sound, resembling the splitting of a bamboo, expressed by “T’hat! t’hat!” and formed by applying the tongue-tip to the palate, 22 and by moving it as rapidly as possible, at the same time pronouncing the interjection.
5. Bhavakriti is a rattling sound, like the fall of heavy rain-drops, expressed by “T’hap! t’hap!” produced by the lips: but it can be produced only at the time of congress.
These several Sitkritis in the woman’s mouth at the moment of enjoyment, will respectively resemble the cry of the quail (Lava), of the Indian cuckoo (Kokila), of the spotted-necked pigeon (Kapota), of the Hansa-goose and of the peacock. The sounds should especially be produced when the husband kisses, bites, and chews his wife’s lower lip; and the sweetness of the utterance greatly adds to enjoyment, and promotes the congress of the sexual act.
Furthermore, be it known to men the peculiar characteristics of the Ashtamahanayika, or the eight great forms of Nayika: 23
1. Khanditanayika, when the husband bears upon his body all the marks of sexual enjoyment, produced by sleeping with a rival wife; and when, with eyes reddened by keeping late hours, he returns to his beloved struck with fear and in an agitated state, coaxing her, and speaking sweet words, for the purpose of sueing her to congress, and she half listens to him, but yields at last. Such is the name given to her by the great poets of the olden time.
2. Vasakasajjita is the word applied by the learned to the wife, who, having spread a soft, fine bed, in a charming apartment, sits upon it at night-time, and awaits her husband, with great expectation, now half closing her eyes, then fixing her glance on the door.
3. Kalakantarita, say wise men, is the term of a wife, who when her husband, after grossly injuring her, falls at her feet and begs for pardon, answers him loudly and in great wrath, drives him from her presence, and determines not to see him again; but presently, waxing repentant, laments in various ways the pains and sorrows of separation, and at last recovers quietude by the hope of reunion.
4. Abhisarika is the woman whose sexual passions being in a state of overflowing, dresses herself, and goes forth shamelessly and wantonly at night-time to the house of some strange man, in the hope of carnal copulation with him.
5. Vipralabdha is the disappointed woman, who, having sent a go-between to some strange man, appointing him to meet her a certain place, repairs there, confused and agitated with the prospect of congress, but sees the go-between returning alone, and without the lover, which throws her into a state of fever.
6. Viyogini is the melancholy woman, who, during the absence of her husband in a far country, smells the fragrant and exciting perfumes 24 of sandalwood, and other odorous substances, and looking upon the lotus-flower and the moonlight, falls into a passion of grief.
7. Svadhinapurvapatika is the name given to the wife whose husband instead of gratifying her amorous desires, and studying her carnal wants, engages in the pursuit of philosophic knowledge derived from meditation.
8. Utkanthita, according to the best poets, is the woman who loves her husband very dearly, whose eyes are light and lively, who has decorated herself with jewels and garlands, well knowing the wishes of her man, and who, burning with desire, awaits his coming, propped up with pillows in a sleeping-apartment appropriated to pleasure, and sumptuously adorned with mirrors and pictures. 25