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Positions
Positions
Lying Down Positions
Indrani draws up both her knees until they nuzzle the curves of her breasts; her feet find her lover's armpits. Small girls love this posture, but becoming a goddess takes a lot of practice. She cups and lifts her buttocks with her palms, spreads wide her thighs, and digs in her heels besides her hips, while you caress her breasts: this is "Utphallaka" (The Flower in Bloom). Grasping the ankles of the round hipped woman, whose buttocks are like two ripe gourds, raise her beautiful thighs and spread the thigh-joints widely. Full of desire, saying sweet words, approach her with your body stiff as a pole and drive straight forward to pierce her lotus and join your limbs: experts call it "Madandhvaja" (The Flag of Cupid). Catch hold of her two feet, raising them till they press upon her breasts and her legs form a rough circle. Clasp her neck and make love to her: this is "Ratisundara" (Aphrodite's Delight). Lift the lady's feet until her soles lie perfectly parallel, one to each side of her slender throat, cup her breasts and enjoy her: this technique is "Uthkanta" (Throat-high). Your lovely wife, lying on the bed, grasps her own feet and draws them up until they reach her hair; you catch her breasts and make love: this is "Vyomapada" (Sky-foot). The round-thighed woman on the bed grasps her ankles and raises high her lotus feet; you strike her to the root, kissing and slapping open-palmed between her breasts: this is "Markata" (The Monkey).
She lies flat on her back,
you sit between her parted knees, raise them,
hook her feet over your thighs,
catch hold of her breasts, and enjoy her:
this is "Manmathpriya" (Dear to Cupid).
Lying Down Positions - Samputa Group
If your penis is too small for a woman, the "Samputa" group of postures should be used: "Samputa" (The Jewel Case), "Pidita" (The Squeeze), "Veshtita (The Entwined) and "Vadavaka" (The Mare's Trick). In Samputa your legs lie along hers caressing their whole length from toes to thighs. Your lover may be below you, or you may both lie on your sides, in which case she should always be on your left. In Pidita the lovers' thighs are interlaced and squeeze each other in rhythm. In Veshtita she crosses her thighs or rolls each one inward, thus greatly strengthening her yoni's grip. When, like a mare cruelly gripping a stallion, your lover traps and milks your penis with her vagina, it is "Vadavaka" (The Mare's Trick), which can only be perfected with long practice. When she uses it, a woman should cease to kiss her lover and simply hold the lock. Courtesans are adept at Vadavaka, and it's a specialty with ladies from Andhra(*).
*The South-Eastern state of India.
Positions from the Medieval Texts
When lovers, with legs stretched rigid and feet caressing feet, make love according to their hearts' desire, "Tantra" scholars call it "Sampada" (Equal Feet) and agree it is a way to ecstasy. Stiff as a pole in the bed's center, she lies making love, cooing and warbling like a woodpigeon, the jewel of her clitoris well-polished: this is Mausala" (The Pestle). When she lies on her back with her two thighs pressed tightly together and you make love to her, keeping your thighs outside hers, it is "Gramya" (The Rustic). If, encircling and trapping her thighs with yours, you grip so hard that she cries out in pain, it is "Ratipasha" (Love's Noose), a device most charming to the ladies. Her limbs, entwined in yours like tendrils of fragrant jasmine creeper, draw taut and slowly relax in the gentle rhythm of lingam and yoni: this is "Lataveshta" (The Clinging Creeper). She draws her limbs together, clasping her knees tightly to her breasts, her yoni, like an opening bud, offered up for pleasure: this is known as "Mukula" (The Bud).
When she draws up her knees
and you clamp yours about her raised thighs,
trapping them in a tight knot
while riding saddle upon her buttocks
and kissing her, it is "Shankha" (The Couch).
Sitting Positions
Seated, mouth to mouth, arms against arms, thighs against thighs: this is "Kaurma" The Tortoise). If the lovers' thighs, still joined, are raised, it is "Paravartita" (Turning). If within the cave of her thighs you sit rotating your hips like a black bee, it is "Markata" (The Monkey). And if, in this pose, you turn away from her, it is "Marditaka" (Crushing Spices). She sits with raised thighs, her feet placed either side of your waist; "linga" (penis) enters "yoni" (vagina); you rain hard blows upon her body: this is "Kshudgaga" (Striking). When your wife sits with both knees drawn tight to her body and you mirror this posture, it is known to experts in the art of love as "Yugmapada" (The Foot Yoke). Seated erect, the lovely girl folds one leg to her body and stretches the other along the bed, while you mirror her actions: this is "Yugmapada" (The Feet Yoke). If, with left leg extended, she encircles your waist with her right leg, laying its ankle across her left thigh, and you do the same, it is "Svastika" (The Swastika)*. *An ancient good-luck talisman based on the symbolism of a cross whirling sun-wise. The Nazis used it the wrong way round, whirling widdershins, and the Indian pundits always said this was sacrilegious and would doom them. Sitting face to face in bed, her breasts pressed tight against your chest, let each of you lock heels behind the other's waist, and lean back clasping one another's wrists. Now, set the swing gently in motion, your beloved, in pretended fear, clinging to your body with her flawless limbs, cooing and moaning with pleasure: this is "Dolita" (The Swing). If, seated face to face, your toes caress the lovely woman's nipples, her feet press your chest and you make love holding each other's hands it is "Kaurma" (The Tortoise). Seated, the lady raises one foot to point vertically over her head and steadies it with her hands, offering up her "yoni" for lovemaking: this is "Mayura" (The Peacock). If, sitting facing her, you grasp her ankles and fasten them like a chain behind your neck, and she grips her toes as you make love, it is the delightful "Padma" (The Lotus). Sitting erect, grip your lover's waist and pull her on to you, your loins continuously leaping together with a sound like the flapping of elephants' ears: this is "Kirtibandha" (The Knot of Fame).
Kneeling between her thighs,
tickle her breasts and under her arms,
call her 'my lovely darling'
and print deep nailmarks around her nipples:
thus "Jaya" (Victory) is expounded.
Rear-Entry Positions
She bends well forward and grips the bedstead, her buttocks raised high; cup your hands to serpents' hoods and squeeze her jar-shaped (sic) breasts together: this is "Dhenuka" (The Milch Cow). If you mount her like a dog, gripping her waist, and she twists round to gaze into your face, experts in the art of love say it is "Svanaka" (The Dog). If the lady, eager for love, goes on all fours, humping her back like a doe, and you enjoy her from behind, rutting as though you'd lost all human nature, it is "Hirana" (The Deer). When, with lotus-feet set well-apart on the ground, she bends, placing a hand upon each thigh, and you take her from the rear, it is "Gardabha" (The Ass). If she lies on her stomach and you seize her ankles in one hand, lift them high and make love, tilting her chin back with your other hand, it is "Marjara" (The Cat). She lies on her front, grasping her ankles in her own hands and pulling them up behind her: this difficult posture is known to experts as "Mallaka" (The Wrestler). When your mistress lays breasts, arms and forehead to the carpet, raising her buttocks high, and you guide your penis into her yoni, it is "Aibha" (The Elephant). You lift her ankles high; she draws up and extends her legs as though she were crawling through the air: this is "Hastika" (The Elephant). She stands on palms and feet; you stand behind her and lift one of her feet to your shoulder, enjoying the lovely girl: this is "Traivikrama" (The Stride). Seize her feet and lift them high (like a wheel barrow), drive your penis into her yoni and pleasure her with vigorous strokes: this is "Kulisha" (The Thunderbolt). You kneel, as in archery, take her on your lap and bend her forward till her breasts are pressed to her thighs: this is "Ekabandha" (One Knot).
Lying on her side, facing away,
the fawn-eyed girl
offers you her buttocks
and your penis penetrates the house of love:
this is "Nagabandha" (The Elephant).
Standing Positions
And now for the love postures with which sculptors adorn our temple walls. When a couple make love standing, or leaning against a wall or a pillar, it is called "Sthita" (Steadied). When the woman sits in her lover's cradled hands, her arms around his neck, thighs gripping his waist, her feet pushing back and forth against a wall, it is "Avalambitaka" (Suspended). When, catching and crushing your lover in the cage of your arms, you force her knees apart with yours and sink slowly into her, it is "Dadhyayataka" (Churning Curds). When she leans against a wall, planting her feet as widely apart as possible, and you enter the cave between her thighs, eager for lovemaking, it is "Sammukha" (Face-to-face). If, as you lean against the wall, your lady twines her thighs around yours, locks her feet to your knees, and clasps your neck, making love very passionately, it is "Dola" (The Swing). When your lover draws up one leg, allowing the heel to nestle just behind your knee, and you make love, embracing her forcefully, it is "Traivikrama" (The Stride). If you catch one of her knees firmly in your hand and stand making love with her while her hands explore and caress your body, it is "Tripadam" (The Tripod). If she raises one leg and you catch hold of her little foot, caressing her breasts and telling her how much you love her, it is "Ekapada" (One Foot). Her foot pressed to your heart, your arms encircling and supporting her, lean back against the wall and enjoy the lovely girl: this is "Veshta" (The Encircling). She stands against the wall, lotus-hands on hips, long, lovely fingers reaching to her navel. Cup her foot in your palm and let your free hand caress your angel's limbs. Put your arm around her neck and enjoy her as she leans there at her ease. Vatsyayana (the author) answer others who knew the art of love in its great days called this posture "Tala" (The Palm). If you lean back to a wall and your lover, clinging to your neck, places both her feet in your palms and thus makes love, this is "Dvitala" (Two Palms). If you lift your lover by passing your elbows under her knees and gripping her buttocks while she hangs fearfully from your neck, it is "Janukurpara" (The Knee Elbow).
Your wife grips your neck
and locks her legs around your waist:
this is "Kirti" (Fame) - a posture
not described in "Kama Sutra" or "Ratirahasya".
Never try it with heavy girls.
Oral Pleasures -- Fellatio Techniques
When your lover catches your penis in her hand and, shaping her lips to an 'O', lays them lightly to its tip, moving her head in tiny circles, this first step is called "Nimitta" (Touching). Next, grasping its head in her hand, she clamps her lips tightly about the shaft, first on one side then the other, taking great care that her teeth don't hurt you: this is "Parshvatoddashta" (Biting at the Sides). Now she takes the head of your penis gently between her lips, by turns pressing, kissing it tenderly and pulling at its soft skin: this is "Bahiha-samdansha" (The Outer Pincers). If next she allows the head to slide completely into her mouth and presses the shaft firmly between her lips, holding a moment before pulling away, it is "Antaha-samdansha" (The Inner Pincers). When, taking your penis in her hand and making her lips very round, she presses fierce kisses along its whole length, sucking as she would at your lower lip, it is called "Chumbitaka" (Kissing). If, while kissing, she lets her tongue flick all over your penis and then, pointing it, strikes repeatedly at the sensitive glans-tip, it becomes "Parimrshtaka" (Striking at the Tip). And now, fired by passion, she takes your penis deep into her mouth, pulling upon it and sucking as vigorously as though she were stripping clean a mango-stone: this is "Amrachushita" (Sucking a Mango).
When she senses that your orgasm
is imminent she swallows up the whole penis,
sucking and working upon it
with lips and tongue until you spend:
this is "Sangara" (Swallowed Whole).
Oral Pleasures -- Cunnilingus Techniques
With delicate fingertips, pinch the arched lips of her house of love very slowly together, and kiss them as though you kissed her lower lip: this is "Adhara-sphuritam" (The Quivering Kiss). Now spread, indeed cleave asunder, that archway with your nose and let your tongue gently probe her "yoni" (vagina), with your nose, lips and chin slowly circling: it becomes "Jihva-bhramanaka" (The Circling Tongue). Let your tongue rest for a moment in the archway to the flower-bowed Lord's temple before entering to worship vigorously, causing her seed to flow: this is "Jihva-mardita" (The Tongue Massage). Next, fasten your lips to hers and take deep kisses from this lovely one, your beloved, nibbling at her and sucking hard at her clitoris: this is called "Chushita" (Sucked). Cup, lift her young buttocks, let your tongue-tip probe her navel, slither down to rotate skilfully in the archway of the love-god's dwelling and lap her love-water: this is "Uchchushita" (Sucked Up). Stirring the root of her thighs, which her own hands are gripping and holding widely apart, your fluted tongue drinks at her sacred spring: this is "Kshobhaka" (Stirring). Place your darling on a couch, set her feet to your shoulders, clasp her waist, suck hard and let your tongue stir her overflowing love-temple: this is called "Bahuchushita" (Sucked Hard).
If the pair of you lie side by side,
facing opposite ways,
and kiss each other's secret parts
using the fifteen techniques described above,
it is known as "Kakila" (The Crow).
Indrina
In ancient times darkness ruled. The gods, powerless against it, imagined and 'created' Indra. Indra the invincible killed the archdemon Vritra and, by so doing, allowed the organized world to triumph over chaos.
Indra is beautiful like the sun. Like the sun, he is radiant. Only a 'Padmini', a perfect woman with one thousand qualities, can aspire to such a husband. But, as ancient authors claim, there is only one Padmini in ten million women.
Still, the others need not despair! Through Iong and patient practice, any woman can perfect the position of Indrani, her legs tucked up, her feet resting on her thighs.
Then she and her husband share a genuine encounter with the divine essence, token of fertility and love.
Indrani draws up both her knees until they nuzzle the curves of her breasts; her feet find her lover's armpits.
Small girls love this posture, but becoming a goddess takes a lot of practice.
She cups and lifts her buttocks with her palms, spreads wide her thighs, and digs in her heels besides her hips, while you caress her breasts: this is Utphallaka (The Flower in Bloom).
The Churning of the Cream
Kamadhenu, the celestial cow with the head of a woman, born from the churning of the Sea of Milk, has the gift of making every wish come true. The deserted wife prays to her. O Kamadhenu!
She bemoans the happy times when her beloved showered her with caresses. And here is the lover returning! He had a dream, he says. Kamadhenu was before him. She had his beauty's face, her mouth was trembling, her beautiful eyes glistening with tears. Repentant, he throws himself to her knees. The lover forgives him.
He embraces her, crushing her nearly to the point of suffocation. Hugs and kisses on her thighs, hugs and kisses on her breasts.
Thanking the celestial cow for opening his eyes, the lover turns his lingam all around inside the delicious yoni. Divine reunion. Churning the cream.
During lovemaking, ten types of blows may be struck with the penis, but of these only Upasripta (Natural), which is instinctive even to untutored cowherds, results in full clitoral stimulation.
It is a gentle forward stroke which may be varied for depth and speed, allowing a subtlety, rhythm and spontaneity which the other nine each lack to some degree.
If you grasp your penis and move it in circles inside her yoni, it is Manthana (Churning).
When you strike sharply down into the yoni, it is Hula (the Double-edged Knife).
If, when her hips are raised by a pillow, you strike a rising blow, it is Avamardana (Rubbing).
If you hold your penis pressed breathlessly to her womb it is Piditaka (Pressing).
If you withdraw completely and then strike her violently to the womb, it is Nirghata (the Buffet).
Continuous pressure on one side of her yoni is Varahaghata (the Boar's Blow).
If you thrust wildly in every direction, like a bull tossing its horns, it is Vrishaghata (the Bull's Blow).
Quivering in her yoni is Chatakavilasa (Sparrow Sport), which usually heralds orgasm.
The involuntary shuddering of orgasm is called Samputa (the Jewel Case).
But no two women make love quite the same way, so orchestrate your rhythms
to the moods and colors of each lover's raga (emotions).
The Mixture of Sesamum Seed with Rice
Lunch-time siesta, exhausting heat. Even the flies are sleeping. Secretly, the engaged couple, shy and charming, meet. Straight kiss, bent kiss, turned kiss, pressed kiss, fighting tongues...
They are well-mannered young people who have been taught the art of loving. But wait! Quick to forget the wise lessons, carried away by passion, they tear off, rip off the sweaty silk clothes which stick to their skin.
They roll down on the cold, tiled floor like two young dogs. Mouth against mouth, gazing into each other's eyes, arms, thighs, legs tightly entwined... It is difficult to tell one from the other.
The mixture of Sesamum seed with rice. Lingam and yoni meet. The engaged couple have celebrated their wedding night prematurely!
If, encircling and trapping her thighs with yours, you grip so hard that she cries out in pain,
it is Ratipasha (Love's Noose), a device most charming to the ladies.
Her limbs, entwined in yours like tendrils of fragrant jasmine creeper, draw taut and slowly relax in the gentle rhythm of linga and yoni: this is Lataveshta (the Clinging Creeper).
She draws her limbs together, clasping her knees tightly to her breasts, her yoni, like an opening bud, offered up for pleasure: this is known as Mukula (the Bud).
Role Reversal
During lovemaking, ten types of blows may be struck with the penis, but of these only "Upasripta" (Natural), which is instinctive even to untutored cowherds, results in full clitoral stimulation. It is a gentle forward stroke which may be varied for depth and speed, allowing a subtlety, rhythm and spontaneity which the other nine each lack to some degree. If you grasp your penis and move it in circles inside her yoni, it is "Manthana" (Churning). When you strike sharply down into the yoni, it is "Hula" (The Double-edged Knife). If, when her hips are raised by a pillow, you strike a rising blow, it is "Avamardana" (Rubbing). If you hold your penis pressed breathlessly to her womb it is "Piditaka" (Pressing). If you withdraw completely and then strike her violently to the womb, it is "Nirghata" (The Buffet). Continuous pressure on one side of her yoni is "Varahaghata" (The Boar's Blow). If you thrust wildly in every direction, like a bull tossing its horns, it is "Vrishaghata" (The Bull's Blow). Quivering in her yoni is "Chatakavilasa" (Sparrow Sport), which usually heralds orgasm. The involuntary shuddering of orgasm is called "Samputa" (The Jewel Case). But no two women make love quite the same way, so orchestrate your rhythms to the moods and colors of each lover's "raga" (emotions). If long lovemaking exhausts you before your lover has reached her orgasm, you should allow her to roll you over your back and sit astride you, taking initiative. If the posture gives her deep pleasure, or you enjoy its novelty, she may transpose into it as a matter of course, taking great care, however, not to expel the linga from the temple of love. Consider: she climbs upon you, the flowers dropping from her tousled hair, her giggles turning to gasps; every time she bends to kiss your lips her nipples pierce your chest. As her hips begin to churn, her head, flung back, bobs ever faster; she scratches, pummels you with small fists, fastens her teeth in your neck, doing unto you what you've often done unto her. When she takes the man's role, your lady has the choice of three famous lovemaking techniques: "Samdamsha (The Tongs), "Bhramara" (The Bee) and "Prenkholita" (The Swing). If she uses the Mare's Trick, gripping your penis with her yoni's vice, squeezing and stroking it, holding it inside her for a hundred heart-beats, it is known as "Samdamsha" (The Tongs). If, drawing up her feet, she revolves her hips so that your penis circles deep within her yoni, you arching your body to help her, it is "Bhramara" (The Bee). If she now swings her hips in wide circles and makes figures-of-eight, swaying upon your body as though she were riding on a seesaw, it is "Prenkholita" (The Swing). When her passion has ebbed, she should rest, bending forward to lay her forehead upon yours without disturbing your yoked bodies: it won't be long before desire stirs again. Catching your penis, the lady with dark eyes like upturned lotus petals guides it into her yoni, clings to you and shakes her buttocks: this is "Charunarikshita" (Lovely Lady in Control). Enthroned on your penis, she places both hands on the bed and makes love, while you press your two hands to her thudding heart: this is "Lilasana" (Seat of Sport). She sits upright upon you, her head thrown back like a rearing mare, bringing her feet together on the bed to one side of your body: this is "Hansabandha" (The Swan). The young woman has one foot on your heart and the other on the bed. Bold, saucy women adore this posture, which is known to the world as "Upavitika" (The Sacred thread). If, with one of her feet clasped in your hand and the second placed upon your shoulder, your young lady enjoys you, it is "Viparitaka" (Reversed). If your lover, seated above you with feet lotus-crossed and her body held erect and still makes love to you, it is known as "Yugmapada" (The Foot Yoke). If she strides you, facing your feet, brings both her feet up to your thighs, and works her hips frantically, it is known as "Hansa-lila" (Swan Sport). Your lover places one foot on your ankle, lodges her other foot just above your knee, and rides you, swinging and rotating her hips: this is "Garuda" (Garuda). If you lie flat on your back with legs stretched out and your lover sits astride you, facing away and grasping your feet, it is called "Virsha" (The Bull). Clasping each other's hands, you lie sprawled like two starfish making love, her breasts stabbing your chest, her thighs stretched out along yours: this is "Devabandha" (The Coitus of the Gods). Lying upon you, your beloved moves round like a wheel, pressing hands one after the other on the bed, kissing your body as she circles: experts call this "Chakrabandha" (The Wheel).
The Yawning
A pale moon shines down on the sleeping beauty. Kneeling beside her, the lover wakes her with a kiss on her modest brow. Keeping her eyelids lowered, she smiles.
Grasping her rounded hips, the lover slides her onto his knees. The beauty raises her legs, widely spread. Her ankle bracelets ring out joyously.
The lover, eager, wants to possess what the beauty reveals to him. The tease shies away, the lover protests. To silence him, the beauty places her plump foot on his mouth. One by one, the lover kisses her pearly nails, nibbles her little toes. The beauty coos.
She coos so loudly that she wakes the dove. The bird, alarmed, responds. The beauty laughs. Taking advantage of her distraction, with one ingenious move, the lover slides into the coveted yoni.
Full of desire, saying sweet words, approach her with your body stiff as a pole and drive straight forward to pierce her lotus and join your limbs: experts call it Madandhvaja (The Flag of Cupid).
The Cobra
He is a perfect man, educated, rich and respected by all. Only his wife knows his weakness. Valiant and skilful at all sorts of games, he lacks vigor in those of love.
So she gives him potions to drink, milk mixed with sugar, uchchata root, pepper and licorice. Or rice with sparrow's eggs. She covers herself with perfumed unguents and oils and, with skilful caresses, awakens the lazy lingam. Erect from her hisses, it is eventually ready to act.
Then, like a snake, the beauty turns around, slithers and coils up among the cushions. The husband did not expect this reversal of the situation.
He is all excited now. Blindly, his lingam searches for the yoni. It is the coupling of the cobra.
If, sitting facing her, you grasp her ankles and fasten them like a chain behind your neck, and she grips her toes as you make love, it is the delightful Padma (the Lotus).
The Conch
Sea-woman, her hair soaked with sweat, coils up like seaweed around her lover's arms. Siren-woman, her teeth have the same luster as the pearls adorning her neck. He, the fisherman, tries to grasp the pink tongue between her lips, but it flees quickly like a small fish.
He holds his breath and dives towards the yoni and its holy glints. A cruel bite draws a cry from him. She does not let her prey go, the moray eel! Octopus-woman, she enlaces the fisherman and drags him down to the bottom of the abyss. Joyously, he lets himself drown...
Eventually, the beauty surrenders. He then climbs astride her lifted thighs and mounts her, beeping her firmly in position under his knees. In the ocean of pleasures, they are the two united valves of a beautiful shellfish: the conch.
She lies flat on her back,
you sit between her parted knees, raise them,
hook her feet over your thighs,
catch hold of her breasts, and enjoy her:
this is Manmathpriya (Dear to Cupid).
The Black Bee
You sense that the proud warrior is ready to vanquish you and, offering her your belly like the wolf, you surrender. She mounts you, she is going to tame you.
No use trying to resist. Her arrogant breasts, her flat belly, her strong and muscled thighs, her greedy mouth are so many weapons. Yours is here, modest but already up for the fight. The beauty grasps it.
Sitting upon you, legs tucked up, she sucks your lingam into her yoni, until you cry out. Then - you did not know of such a hidden talent - she starts spinning like a top around your organ erected as a pivot.
When she takes the man's role, your lady has the choice of three famous lovemaking techniques: If she uses the Mare's Trick, gripping your penis with her yoni's vice,
squeezing and stroking it, holding it inside her for a hundred heart-beats, it is known as Samdamsha (the Tongs).
If, drawing up her feet, she revolves her hips so that your penis circles deep within her yoni,
you arching your body to help her, it is Bhramara (the Bee).
If she now swings her hips in wide circles and makes figures-of-eight, swaying upon your body as though she were riding on a seesaw, it is Prenkholita (the Swing).
The Mare
The reputation of the courtesan of the land of Andra is firmly established. She is said to make love with consummate artistry. It is also said that, unlike the mare, it is she who climbs astride her male.
And when the lover is well in hand, tamed, saturated with caresses, she seizes his lingam. Deep inside her yoni, she squeezes it, strangles it: it is the blow of a mare. Men would like to own her.
Women, too, and among them good wives who seek to perfect themselves in the art of love. But the courtesan of the land of Andra is not for sale.
She is already rich enough. Today she is said not to have a lover. And all her love goes to Babu, her elephant.
When her passion has ebbed, she should rest, bending forward to lay her forehead upon yours
without disturbing your yoked bodies: it won't be long before desire stirs again.
Catching your penis, the lady with dark eyes like upturned lotus petals guides it into her yoni,
clings to you and shakes her buttocks: this is Charunarikshita (Lovely Lady in Control).
Enthroned on your penis, she places both hands on the bed and makes love, while you
press your two hands to her thudding heart: this is Lilasana (Seat of Sport).
She sits upright upon you, her head thrown back like a rearing mare, bringing her feet together
on the bed to one side of your body: this is Hansabandha (the Swan).
The young woman has one foot on your heart and the other on the bed.
Bold, saucy women adore this posture, which is known to the world as Upavitika (the Sacred thread).
If, with one of her feet clasped in your hand and the second placed upon your shoulder,
your young lady enjoys you, it is Viparitaka (Reversed).
The Swing
He is a man of taste. In his garden there are two swings, one revolving and one ordinary. He spends many pleasant moments there, conversing with his friends.
Sometimes, alone, he switches from one to the other until his head spins. But his favorite swing has neither ropes, nor wood, nor cushions.
He finds it with his favorite mistress, a skilful and passionate courtesan. Adorned with pearls and gold, a simple veil of silk hiding her nudity, she stretches out her arms towards him. The night will be long...
They revisit each of the sixty-four chapters. And, to finish, the swing. She sits on his lap, her legs raised.
With one hand, he holds her, with the other, he caresses her breasts. She swings back and forth, faster and faster, until bliss.
Sitting face to face in bed, her breasts pressed tight against your chest, let each of you lock heels
behind the other's waist, and lean back clasping one another's wrists.
Now, set the swing gently in motion, your beloved, in pretended fear, clinging to your body with her flawless limbs, cooing and moaning with pleasure: this is Dolita (The Swing).
Splitting The Bamboo
A charming scene: two young peasants singing under the moon. With the same slender figure, the same graceful gait, they look like the male and female forms of one single being. Their fresh voices chase the darkness away.
They reach the river, at the spot named 'the bath of the goddesses'. Undressed in the twinkling of an eye, they dive... Now they lie down in the grass, fearless of snakes. Perched on top of a tree, Garuda, the bird of Vishnu, protects them.
With the blessing of the sympathetic god, they soon become experts in the art of loving.
With one leg stretched out along his slender body, the young girl puts her other leg on the boy's shoulder, then she inverses the legs' position, she alternates them. It is splitting the bamboo. Celestial ballet!
If your lover, seated above you with feet lotus-crossed and her body held erect and still
makes love to you, it is known as Yugmapada (the Foot Yoke).
If she strides you, facing your feet, brings both her feet up to your thighs, and works her hips frantically, it is known as Hansa-lila (Swan Sport).
Your lover places one foot on your ankle, lodges her other foot just above your knee,
and rides you, swinging and rotating her hips: this is Garuda (Garuda).
If you lie flat on your back with legs stretched out and your lover sits astride you, facing away
and grasping your feet, it is called Virsha (the Bull).
Clasping each other's hands, you lie sprawled like two starfish making love, her breasts stabbing your chest, her thighs stretched out along yours: this is Devabandha (the Coitus of the Gods).
Lying upon you, your beloved moves round like a wheel, pressing hands one after the other on the bed, kissing your body as she circles: experts call this Chakrabandha (the Wheel).
If, by means of some contraption, your lover suspends herself above you, places your linga in her yoni and pulleys herself up and down upon it, it is Utkalita (the Orissan).
The Curving Knot
The friends linger behind. One discusses the matters of love. The master of the house, however, thinks only of his beloved who awaits him. He thinks of the 'line of jewels' he left at the bottom of her back.
This is what one calls a bite made with all of the teeth. One of the hosts recounts how he practices the curving knot position, which demands skill and suppleness.
The master of the house smiles dreamily... Last night his beloved, as clever as a she-monkey, led him into this perilous exercise. His legs remember it still! Each partner puts their arms into the hollow of their fences and pulls their legs towards them.
Holding each other's hands, yoni and lingam are brought closer. Reaching ecstasy in this delicate position is said to be a token of the lovers' eternal love.
When your wife sits
with both knees drawn tight to her body
and you mirror this posture,
it is known to experts in the art of love
as Yugmapada (The Foot Yoke).
Seated erect, the lovely girl
folds one leg to her body
and stretches the other along the bed,
while you mirror her actions:
this is Yugmapada (The Feet Yoke).
Sitting erect, grip your lover's waist
and pull her on to you,
your loins continuously leaping together
with a sound like the flapping of elephants' ears:
this is Kirtibandha (the Knot of Fame).
Odors that increase blood flow to the penis: lavender, licorice, chocolate
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