CHAPTER I

SECTION I

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 II

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. 1 Her face is pleasing as the full moon; her body, well clothed with flesh., is soft as the Shiras 2 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 Yoni 3 resembles the open lotus-bud, and her Love-seed (Kama-salila, the water of life) 4 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-bird 5; 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 6, 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 peacock 7. 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 8, 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 confused 9, 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. 

SECTION III

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 11

 

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 IV

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, 12 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.

---

Footnotes

1 Evidently the nervous temperament, with due admixture of the bilious and sanguine.

2 A lofty tree with soft and fragrant pollen.

3 The Yoni the feminine opposite to the Linga (Priapus) or male apparatus.

4 See note, chap. iv., on the Hindu ideas of human sperm, and for the vermicules of the Yoni, chap. iii., sec. 3.

5 Usually known as the Indian cuckoo, though its voice is harsh and disagreeable; in poetry and romance it takes the place of the bulbul of Persia, and the nightingale of Europe.

6 The sanguine temperament.

7 Meaning excellent as that of the Peacock, which is not disliked by the Hindus as by Europeans. They associate it with the breaking of the rainy monsoon, which brings joy to the thirsty earth and sun-parched men.

8 The bilious temperament.

9 So Apollonius of Rhodes, describing the passion of Medeia, says:–"The fire which devours her, attacks all her nerves, and makes itself felt even behind the head in that spot where pain is most poignant when an extreme fervour seizes on all the senses."

10 "Elephant"-woman, because the animal being called the "handed one," from the use of the trunk, and Hastini corresponds with Karami, from kara, a hand. She is "mulier nigris dignissima barris," and of the lymphatic or lowest temperament. These divisions represent, we have noted, roughly and unscientifically, the four European temperaments, nervous, sanguine, bilious and lymphatic. In a future chapter, the three Hindu temperaments will be discussed.

11 The days (Tithi) are those of the lunar fortnight: the Pratipada, for instance, being the first, when the moon's increase and wane begin.

12 As amongst the classics, day and night are divided by the Hindus with eight watches, each of seven ghari, or hours (1 ghari = 241).

CHAPTER II

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 1 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 2–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

 

Shuklapaksha or light fortnight; right side				Krishnapaksha or dark fortnight, left side.
Day	Place	The touches by which passion is satisfied.	Place	Day
15th	Head and hair	Hold hair, and caress the head and finger-tips	Head and hair	1st
14th	Right eye	Kiss and Fondle	Left eye	2nd
13th	Lower lip	Kiss, bite and chew softly	Upper lip	3rd
12th	Right Cheek	Do.	Left cheek	4th
11th	Throat	Scratch gently with nails	Throat	5th
10th	Side	Do.	Side	6th
9th	Breasts	Hold in hands and gently knead	Breasts	7th
8th	All bosom	Tap softy with base of fist	All bosom	8th
7th	Navel	Pat softly with open palm	Navel	9th
6th	Nates	Hold, squeeze and tap with fist	Nates	10th
5th	Yoni	Work with friction of Linga	Yoni	11th
4th	Knee	Press with application of knee and fillup with finger	Knee	12th
3rd	Calf of leg	Press with application of calf and fillup with finger	Calf and leg	13th
2nd	Foot	Press with toe, and thrust with finger	Foot	14th
1st	Big toe	Do.	Big toe	15th

 

 

Table IV

Showing the Manipulations of the Padmini

 

Member	Pratipada 1st day	Dvitiya 2nd day	Chaturthi 4th day	Panchami 5th day
Throat	Hug with force	"	"	"
Cheek	Kiss and scratch	Kiss and scratch	"	"
Hair	"	"	"	Stroke slowly with right hand
Waist	Apply nails and scratch	"	"	"
Breast	"	"	Scratch gently	"
Back	Scratch & tap with fist	"	"	"
Bosom	"	Press with nails	Squeeze and knead	Press and rub
Side	Scratch and press with nails	"	"	"
Thigh	"	Scratch and press with nails	"	"
Belly	Scratch and press with nails	"	"	"
Arm	"	"	Jerk suddenly and twitch	"
Lip	Bite softly and kiss	Kiss	Bite softly and suck	Bite softly
Nipple	"	"	"	Kiss, pinch softly and rub with thumb and forefinger
Space between eyes	Kiss	"	"	"
Foot	"	Scratch and press with nails	"	"

 

 

Table V

Showing the manipulations of the Chitrini

 

Member	Shasti 6th day	Ashtami 8th day	Dashami 15th day	Dwadashi 12th day
Yoni	"	Insert Linga	Rub and scratch with left hand	"
Lower Lip	Kiss	"	"	Bite very gently
Throat	Embrace	Clasp firmly with hands	Scratch and pass fingers over it	Embrace firmly
Waist	Scratch and press with nails	"	Pass left hand over it and rub	"
Navel	"	Pinch with nails and fingers	"	"
Lip	"	Bite quickly and repeatedly	"	"
Breast		Hold in hand	Pass left hand over it and rub	"
Ear	"	"	Caress with left hand	Set nails upon it
Thigh	"	"	Rub with left hand	"
Middle of body	"	"	Pass left hand over it and rub	"
Back	"	"	Rub with left hand and tap with fist	"
Nates	"	"	"	"
Forehead	"	"	Kiss strongly	"
Chest	"	"	"	Kiss and pat
Eye				Do something that will make the eyes close rapidly
Hair	"	"	"	Pull gently

 

 

Table VI

Showing the manipulations of the Shankhini

 

Member	Tritiya 3rd day	Saptami 7th day	Ekadashi 11th day	Trayodashi 13th day
Body generally	Twist it about	Embrace firmly	Clasp with force	"
Lower lip	Bite	"	"	"
Arm	?	"	"	"
Breasts	Scratch roughly till marks are left	"	"	Squeeze till she makes the sound of Sitkara
Belly	"	Scratch and press with nails	"	"
Chest	"	Press with nails and caress	"	"
Throat	"	Scratch and press with nails	"	"
Ear	"	Press with nails	"	"
Foot	"	Press so as to leave nail-marks	"	"
Mouth or face	"	Kiss	"	"
Yoni	"	Apply Linga with force	Apply Linga as it were with a blow 3	"
Lip	"	"	Kiss and suck	"
Inch below head	"	"	"	Write upon it, as it were, with nails
Lower edge of Yoni	"	"	"	"

 

 

 

Table VII

Showing the Manipulations of the Hastini

 

Member	Navami 9th day	Chaturdashi 14th day	Purnima Full Moon	Amavasya New Moon
Yoni	Thrust violently with Linga or even rub hard with hand	Scratch, press in member until her waist bends	"	Manipulate and pull open like a flower
Navel	Rub and frequently pass hand over	"	"	"
Lip	Kiss and suck	"	Kiss in various ways  4	Kiss in various ways
Side	Press with fingers & scratch very softly	"	Pull hard	Scratch till it bears nail-marks
Breast	Rub, squeeze, twist, & make it very small	"	Pull hard	Scratch till it bears nail-marks
Chest	"	"	Scratch and leave marks	Scratch and leave marks
Nipple	"	"	Kiss and rub with thumb and forefinger	Pass hand over it and rub with thumb and forefinger
Body generally	"	"	Embrace in various ways	Embrace in various ways
Eye	"	Kiss	Kiss	Kiss
Armpit	"	"	Scratch and tickle	Scratch and tickle

 

 

Here end the tables of the Chandrakala, by the proper study of which men may satisfy women, and thereby subject even the most strong-minded to their will.

 

---

Footnotes

1 Chandrakala is properly a digit, or one-sixteenth of the lunar orb.

2 Called Sitkara from the sound "S't! s't! s't! s't!" as a person breathing hard or drawing in cold air between the teeth, thus making an inarticulate sound. Full particulars concerning it will be found in Chapter IX.

3 In the original Sanskrit and in all the translations there is an allusion to the practice described by Juvenal (IX. 4): Ravola dum Rhodopes uda terit inguina barba.

4 Alluding to what Shakespeare calls "kissing with th' inner lip."

CHAPTER III

OF THE DIFFERENT KINDS OF MEN AND WOMEN

SECTION I

Men

THEN are three kinds of men, namely, the Shastra, or the Hare-man; the Vrishabha, or Bull-man, and the Ashwa, or Horse-man. 1 These may be described by explanation of their nature, and by enumeration of their accidents.

The Shasha is known by a Linga which in erection does not exceed six finger-breaths, or about three inches. His figure is short and spare, but well-proportioned in shape and make; he has small hands, knees, feet, loins and thighs, the latter being darker than the rest of the skin. His features are clear and well proportioned; his face is round, his teeth are short and fine, his hair is silky, and his eyes are large and well-opened. He is of a quiet disposition; he does good for virtue's sake; he looks forward to making a name; he is humble in demeanour; his appetite for food is small, and he is moderate in carnal desires. Finally, there is nothing offensive in his Kama-salila or semen.

 

The Vrishabha is known by a Linga of nine fingers in length, or four inches and a half. His body is robust and tough, like that of a tortise; his chest is fleshy, his belly is hard, and the frogs of the upper arms are turned so as to be brought in front. His forehead is high, his eyes large and long, with pink corners, and the palm of his hands are red. His disposition is cruel and violent, restless and irascible, and his Kama-salila is every ready.

The Ashwa is known by a Linga of twelve fingers, or about six inches long. He is tall and large-framed, but not fleshy, and his delight is in big and robust women, never in those of delicate form. His body is hard as iron, his chest is broad, full, and muscular; his body below the hips is long, and the same is the case with his mouth and teeth, his neck and ears; whilst his hands and fingers are remarkably so. His knees are somewhat crooked, and this distortion may also be observed in the nails of his toes. His hair is long, coarse and thick. His look is fixed and hard, without changing form, and his voice is deep like that of a bull. He is reckless in spirit, passionate and covetous, gluttonous, volatile, lazy, and full of sleep. He walks slowly, placing one foot in front of the other. He cares little for the venereal rite, except when the spasm approaches. His Kama-salila is copious, salt, and goat-like.

SECTION II

Women

And as men are divided into three classes by the length of the Linga, so the four orders of women, Padmini, Chitrini, Shankhini and Hastini, may be subdivided into three kinds, according to the depth and extent of the Yoni. These are the Mrigi, also called Harini, the Deer-woman; the Vadava or Ashvini, Mare-woman; and the Karini, or Elephant-woman.

The Mrigi has a Yoni six fingers deep. Her body is delicate, with girlish aspect, soft and tender. Her head is small and well-proportioned; her bosom stands up well; her stomach is thin and drawn in; her thighs and Mons Veneris are fleshy, and her build below the hips is solid, whilst her arms from the shoulder downwards are large and rounded. Her hair is thick and curly; her eyes are black as the dark lotus-flower; her nostrils are fine; her cheeks and cars are large; her hands, feet, and lower lip are ruddy, and her fingers are straight. Her voice is that of the Kokila bird, and her gait the rolling of the elephant. She eats moderately, but is much addicted to the pleasure of love; she is affectionate but jealous, and she is active in mind when not subdued by her passions. Her Kama-salila has the pleasant perfume of the lotus-flower.

The Vadava or Ashvini numbers nine fingers depth. Her body is delicate; her arms are thick from the shoulders downwards; her breasts and hips are broad and fleshy, and her umbilical region is high-raised, but without protuberant stomach. Her hands and feet are red like flowers, and well-proportioned. Her head slopes forwards and is covered with long and straight hair; her forehead is retreating; her neck is long and much bent; her throat, eyes, and mouth are broad, and her eyes are like the petals of the dark lotus. She has a graceful walk, and she loves sleep and good living. Though choleric and versatile, she is affectionate to her husband; she does not easily arrive at the venereal spasm, and her Kama-salila is perfumed like the lotus.

The Karini has a Yoni twelve fingers in depth. Un clean in her person, she has large breasts; her nose, ears, and throat are long and thick; her cheeks are blown or expanded; her lips are long and bent outwards (bordes); her eyes are fierce and yellow-tinged; her face is broad; her hair is thick and somewhat blackish; her feet, hands, and arms are short and fat; and her teeth are large and sharp as a dog's. She is noisy when eating; her voice is hard and harsh; she is gluttonous in the extreme, and her joints crack with every movement. Of a wicked and utterly shameless disposition, she never hesitates to commit sin. Excited and disquieted by carnal desires, she is not easily satisfied, and requires congress unusually protracted. Her Kama-salila is very abundant, and it suggests the juice which flows from the elephant's temples.

The wise man will bear in mind that all these characteristics are not equally well defined and their proportions can be known only by experience. Mostly the temperaments are mixed; often we find a combination of two and in some cases even of three. Great study, therefore, is required in judging by the absence or presence of the signs and symptoms, to choose the Chandrakala and other manipulations proper to the several differences, as without such judgment the consequences of congress are not satisfactory. Thus the student is warned that the several distinctions of Padmani, Chitrini, Shankhini and Hastini; of Shasta, Vrishabha, and Ashva, and of Mrigi (Harini), Vadava (Ashvini), and Karini are seldom found pure, and that it is his duty to learn the proportions in which they combine.

Before proceeding to the various acts of congress, the symptoms Of the orgasm in women must be laid down. As soon as she commences to enjoy pleasure, the eyes are half closed and watery; the body waxes cold; the breath after being hard and jerky, is expired in sobs or sighs; the lower limbs are limply stretched out after a period of rigidity; a rising and outflow of love and affection appear, with kisses and sportive gestures; and, finally, she seems as if about to swoon. At such time, a distaste for further embraces and blandishments becomes manifest; then the wise know that, the paroxysm having taken place, the woman has enjoyed plenary satisfaction; consequently, they refrain from further congress.

SECTION III

Of Congress

Men and women, being, according to the above measurements, of three several divisions, it results that there are nine conditions under which congress takes place. Of these, however, four, being unusual, may be neglected, and attention is required only for the five following:

1. Samana is when the proportions of both lovers arc alike and equal; hence there is plenary satisfaction to both.

2. Uchha is that excess of proportion in the man which renders congress hard and difficult and therefore does not content the woman.

3. Nichha, meaning literally hollow or low, and metaphorically when the man is deficient in size, gives but little contentment to either lover.

4. Anti-uchha is an exaggeration of Uchha; and

5. Anti-nichha is an exaggeration of Nichha.

The following table divides the congress of the several dimensions into three categories; which are respectively entitled Uttama, the best; Madhyama, the middling; and Kanishtha, the worst.

From an inspection of these tables, it is abundantly evident that the greatest happiness consist in the correspondence of dimensions, and that the discomfort increases with the ratio of difference. And of this fact the reason is palpable.

Table VIII

Applicable to the Shasha, or Hare-man

 

Dimensional Names	Actual dimensions of members	Category
Shasha Mrigi	6 fingers long 6 fingers deep	Uttama
Shasha Vadva or Asvini	6 fingers long 9 fingers deep	Madhyama
Shasha Karini	6 fingers long 12 fingers deep	Kanishtha

 

Table IX

Applicable to the Vrishabha, or Bull-man

 

Dimensional Names	Actual dimensions of members	Category
Ashva Karini	12 fingers long 12 fingers deep	Uttama
Ashva Asvini	12 fingers long 9 fingers deep	Madhyama
Ashva Harini	12 fingers long 6 fingers deep	Kanishtha

 

Table X

Applicable to the Ashwa, or Horse-man

 

Dimensional Names	Actual dimensions of members	Category
Ashva Karini	12 fingers long 12 fingers deep	Uttama
Ashva Ashvini	12 fingers long 9 fingers deep	Madhyama
Ashva Harini	12 fingers long 6 fingers deep	Kanishtha

 

 

There are three species of vermicules bred by blood in the Yoni 2 and these are either Sukshma (small), Madhyama (middling), or Adhikabala (large). In their several proportions they produce a prurience and titillation, wherefrom springs that carnal desire which is caused to cease only by congress. And thus it is that a Linga of small dimensions fails to satisfy. On the other hand, excess of length offends the delicacy of the parts, and produces pain rather than pleasure. But the proportion of enjoyment arises from the exact adaptation of the Linga, especially when the diameter agrees with the extension, and when the vigour of tension enables the husband to turn his mind towards the usual arts which bring women under subjection.

 

SECTION IV

Of other Minor Distinctions in Congress

Each of the foregoing nine forms of congress is subdivided into nine other classes, which will now be noticed.

There are three forms of Vissrishti, or the emission of Kama-salila, both in men and women., viewed with respect to length or shortness of time:

1. Chirasambhava-vissrishti is that which occupies a great length of time.

2. Madhyasambhava-vissrishti is that which is accomplished within a moderate period.

3. Shighrasambhava-vissrishti is that which takes a short time to finish.

Again, there are three degrees of Vega, that is to say, force of carnal desire, resulting from mental or vital energy and acting upon men and women. In order to make this clear, a comparison may be instituted. Hunger, for instance, is felt by all human beings, but it affects them differently. Some must satisfy it at once, without which they are ready to lose their senses; others can endure it for a moderate extent, whilst others suffer from it but little. The Vegas, or capacities of enjoyment, are:

1. Chanda-vega, furious appetite or impulse; the highest capacity.

2. Madhyama-vega, or moderate desires.

3. Manda-vega, slow or cold concupiscence; the lowest capacity.

The woman who possesses Chanda-vega, may be known by her ever seeking carnal enjoyment; she must enjoy it frequently and she will not be satisfied with a single orgasm. If deprived of it, she will appear like one out of her senses. The reverse is she who has Manda-vega, and who seems to find in it so little enjoyment that she always denies herself to her husband. And the owner of Madhyama-vega is the most fortunate, as she is free from either excess.

Again, there are three Kriyas, acts or processes which bring on the orgasm in men and women; these are:

1. Chirodaya-kriya, is applied to the efforts which continue long before they bear any result.

2. Madhyodaya-kriya, those which act in. a moderate time.

3. Laghudaya-kriya, the shortest.

Thus we may observe there are nine several forms of congress, according to the length and depth of the organs. There are also nine, determined by the longer or shorter period required to induce the orgasm and there are nine which arise from the Kriyas or processes which lead to the conclusion. Altogether we have twenty-seven kinds of congress, which, by multiplying the nine species and the three periods, give a grand total of two hundred and forty-three (9 X 9 = 81 X 3 = 243).

---

Footnotes

1 These divisions again appear to represent the nervous, bilious and sanguine temperament. Some MSS. divide men only by the three Linga-lengths of 6, 9 and 12 finger breadths; the latter (12 widths) would be of African or Negro dimensions.

2 A fair anticipation of the spermatozoa: see terminal note of Chap. IV.