CHAPTER IX
TREATING OF INTERNAL ENJOYMENTS IN ITS VARIOUS FORMS
By “internal enjoyment”, is meant the art of congress which follows the various external preliminaries described in the last chapter. These embraces, kisses and sundry manipulations, must always be practised according to the taste of husband and wife, and if persisted in as the Shastra, directs, they will excessively excite the passions of the woman, and will soften and loosen her Yoni so as to be ready for carnal connection.
The following verses show how much art and science there is in a matter which appears so simple to the uneducated and vulgar.
“What is the remedy when a woman is mightier than a man? Although she be very strong, yet no sooner are her legs placed wide apart, than she loses her force of passion, and is satisfied.”
“Thus the Yoni from being tight and compact, becomes slack and loose; let the husband, therefore, press her thighs together, and she will be equally able to struggle with him at the time of congress.”
“Well, if a woman be only twelve or thirteen years old, and the man is quite grown up, and has lost the first vigour of his youth, what must be done to make them equal?”
“In such a case, the legs of the woman must be stretched out to the fullest extent, so as to weaken the powers, and by these means the man will prove himself her equal.”
There are five main Bandha or A’sana-forms or postures of congress-which appear in the following shape, and each of these will require its own description successively, and in due order. 1
(A) Uttana-bandha (i.e., supine posture) is the great division so-called by men well versed in the Art of Love, when a woman lies upon her back, and her husband sits close to her upon his hams. But is this all that can be said of it? No! no! there are eleven sub-divisions, as shown in the table on the following page.
And now of the several sub-divisions:
1. Samapada-uttana-bandha, is when the husband Places his wife upon her back, raises both her legs, and placing them upon his shoulders, sits close to her and enjoys her.
2. Nagara-uttana-bandha, is when the husband places his wife upon her back, sits between her legs, raises them both, keeping them on either side of his waist, and thus enjoys her.
3. Traivikrama-uttana-bandha, is when one of the wife’s legs is left lying upon the bed or carpet, the other being placed upon the head of the husband, who supports himself upon both hands. This position is very admirable.
4. Vyomapada-uttana-bandha, is when the wife, lying upon her back, raises with her hands both legs, drawing them as far back as her hair; the husband, then sitting close to her, places both bands upon her breasts and enjoys her.
5. Smarachakrasana, or the position of the Kama-wheel, a mode very much enjoyed by the voluptuary. In this form, the husband sits between the legs of his wife, extends his arms on both sides of her as far as he can, and thus enjoys her.
6. Avidarita is that position when the wife raises both her legs, so that they may touch the bosom of her husband, who, sitting between her thighs, embraces and enjoys her.
7. Saumya-bandha is the name given by the old poets to a form of congress much in vogue amongst the artful students of the Kamashastra. The wife lies supine, and the husband, as usual, sits; 2 he places both hands under her back, closely embracing her, which she returns by tightly grasping his neck.
8. Jrimbhita-asana. In order to bend the wife’s body in the form of a bow, the husband places little pillows or pads beneath her hips and head, he then raises the seat of pleasure and rises to it by kneeling upon a cushion. This is an admirable form of congress, and is greatly enjoyed by both.
9. Veshtita-asana, is when the wife lies upon her back cross-legged, 3 and raises her feet a little; this position is very well fitted for those burning with desire.
10. Venuvidarita is that in which the wife, lying upon her back, places one leg upon her husband’s shoulder, and the other on the bed or carpet.
11. Sphutma-uttana-bandha is when the husband, after insertion and penetration, raises the legs of his wife, who still lies upon her back, and joins her thighs closely together.
Here end the eleven forms of Uttana-bandha; we now proceed to the:
(B) Tiryak (i.e., aslant, awry posture) whose essence consists of the woman lying upon her side. Of this division, there are three sub-divisions:
1. Vinaka-tiryak-bandha is when the husband, placing himself alongside of his wife, raises one of his legs over her hip and leaves the other lying upon the bed or carpet. This A’sana (position) is fitted only for practice upon a grown-up woman; in the case of a younger person, the result is by no means satisfactory.
2. Samputa-tiryak-bandha is when both man and woman lie straight upon their sides, without any movement or change in the position of their limbs.
3. Karkata-tiryak-bandha is when both being upon their sides, the husband lies between his wife’s thighs, one under him, and the other being thrown over his flank, a little below the breast.
Here end the three forms of the Tiryak-bandha; and we now proceed to the:
(C) Upavishta (i.e., sitting) posture. Of this division there are ten sub-divisions shown in the figure on the opposite page.
1. Padm-asana. The husband in this favourite position sits cross-legged upon the bed or carpet, and takes his wife upon his lap, placing his hands upon her shoulders.
2. Upapad-asana. In this posture, whilst both are sitting, the woman slightly raises one leg by placing the hand under it, and the husband enjoys her.
3. Vaidhurit-asana. The husband embraces his wife’s neck very closely, and she does the same to him.
4. Panipash-asana. The husband holds his wife’s feet, and the wife those of her husband.
5. Sanyaman-asana. The husband passes both the legs of his wife under his arms at the elbow, and holds her neck with his hands.
6. Kaurmak-asana (or the tortoise posture). The husband must so sit that his mouth, arms, and legs touch the corresponding members of his wife.
7. Parivartit-asana. In addition to the mutual contact of mouth, arms, and legs, the husband must frequently pass both the legs of his wife under his arms at the elbow.
8. Yugmapad-asana is a name given by the poets to that position in which the husband sits with his legs wide apart, and, after insertion and penetration, presses the thighs of his wife together.
9. Vinarditasana, a form possible only to a very strong man with a very light woman; he raises her by passing both her legs over his arms at the elbow, and moves her about from left to right, but not backwards or for. wards, till the supreme moment arrives.
10. Markatasana, is the same position as No. 9; in this, however, the husband moves the wife in a straight line away from his face, that is, backwards and forwards, but not from side to side.
