BLOWS AND SIGHS

 

1 Sexual relations can be conceived of as a kind of combat, and eroticism as a contest and perverse behavior.

2 Good places for giving blows are on the shoulders, the head, the gap between the breasts, the back, the sexual area, the sides.

3 There are four ways of hitting: with the side of the hand, with the palm of the open hand, with the fist, with the ends of the fingers joined.

4 The woman groans under the blows, because they hurt her. Since the blows vary greatly, sighs do also.

5 Cries are of eight kinds.

6 They are called: Himkara, nasal ("hee") - Stanita , roll of thunder - Kujita, hissing - Rudita, weeping - Sutkrita, sighing - Dutkrita, cry of pain - Phutkrita, violent expulsion of breath.

7 Some cries are words that have meaning, calling for mother, pleading for release, to stop, or to continue.

8 When she groans under her lover's blows, the woman cries are like those of: the pigeon, the cuckoo, the turtledove, the parrot, the bee, the nightingale, the goose, the duck, the partridge. Cries are of all sorts, usually appearing when the woman is beaten. They also serve other occasions.

9 With the girl sitting on his knees ready for love, he strikes her back with his fists.

10 Pretending that she cannot bear him, with a long breathed-out "Han" and tears, the girl gives him the same back.

11 When the instrument penetrates her as she is lying on her back, the space between the breats should be stuck with the side of the hand.

12 Begin gently, then, when she starts liking it, stike harder and harder, finally striking in other places.

13 One must judge from the girl's sighs whether the blows given are insufficient, and if the moment has come for going ahead without restraint.

14 Excruciating is the name given to a way of striking the head with joined fingers, making her scream when she is thus assailed.

15 Thus she cries and sighs issue from the girl's mouth.

16 After reaching orgasm, she sighs and weeps.

17 The panting that accompanies the action is called "the effect of pain".

18 At the moment of orgasm, she utters a sound, which is similar to a jujube fruit falling into the water.

19 Once she has groaned, her whole body having been attacked by kisses and blows, she must do the same to him.

20 When, under the effect of exictation, the boy starts to ill-treat her, in order to protest and to stop him, the girl calls out, "Mummy, mummy!" weeping and sighing and continually uttering cries of pain and other properties.

21 When she is struck on the breasts, her cries are like those of a partidge or a goose.

22 Quotation: "Vigor and audacity are manly qualities. Weakness, sensuality, and dependence are female characteristics."

23 Sometimes, out of passion, custom, or temperment, the woman inverts the situation. This is only temporary, however, and nature ends by taking back its due.

24 Besides the four forms of aggression mentioned, four others are utilized by the peoples of the South, which are: the nail on the chest, the knife on the head, the borer on the cheeks, the pincers on the breats. These make eight in all. In the South, "nail" marks can be seen on the girls' breast. This is the custom of the country.

25 Vatsyayana's opinion is that causing suffering is not an Aryan practice and is not suitable for respectable people.

26 These practices are allowed in certain areas and not in others.

27 One must in all cases know when to stop if there is a risk of mutilation or death.

28 Chitrasena, the king of the Chola country, struck the courtesan Chandrasena so violently with the "nail", in the blindness of his erotic excitement, that she died.

29 In the land of Kuntala, King Shatakarni Shatavahana caused the death of the Great Queen malayavati by striking her with a "knife".

30 The chief of the army, Naradeva, in Pandya country, attracted by the dancer Chitralekha and attempting to stike her cheek with the "borer", struck her eye, making her one-eyed.

31 A countless number of people are imprudent and ignorant of the rules and, driven by passion in the arbor of their erotic practices, are unable to measure the consequences.

32 The fantasies a man invents under the effect of erotic excitation are not imaginable even in dreams.

33 Like a speed-maddened horse, flying at a gallop and seeing neither holes nor ditches, two lovers blinded by desire and making furious love do not take account of the risks involved in their conduct.

34 this is why in his sexual behavior with a girl, an educated man takes into account his own strength and the fragility of his partner. He knows how to check the violence of his impulses, as well as the girl's limitations of endurance.

35 In love, not all kinds of action can be practiced at all times with all women. In amorous practices, the man's behavior should take into account the place, the country, and the moment.

 

Taken from the Kama Sutra, believed to be the work of Nandi, a companion of the Hindu god Shiva. It was summarized and written down by Shvetaketu, son of Uddalaka, in the 8th century B.C.