Free Download Kamasutra Book Hindi Language Pdf
Phyllis Sterlin
The text is one of many Indian texts on Kama Shastra.[12] It is a much-translated work in Indian and non-Indian languages. The Kamasutra has influenced many secondary texts that followed after the 4th-century CE, as well as the Indian arts as exemplified by the pervasive presence Kama-related reliefs and sculpture in old Hindu temples. Of these, the Khajuraho in Madhya Pradesh is a UNESCO World Heritage Site.[13] Among the surviving temples in north India, one in Rajasthan sculpts all the major chapters and sexual positions to illustrate the Kamasutra.[14] According to Wendy Doniger, the Kamasutra became "one of the most pirated books in English language" soon after it was published in 1883 by Richard Burton. This first European edition by Burton does not faithfully reflect much in the Kamasutra because he revised the collaborative translation by Bhagavanlal Indrajit and Shivaram Parashuram Bhide with Forster Arbuthnot to suit 19th-century Victorian tastes.[15]
The earliest foundations of the kamasutra are found in the Vedic era literature of Hinduism.[44][45] Vatsyayana acknowledges this heritage in verse 1.1.9 of the text where he names Svetaketu Uddalaka as the "first human author of the kamasutra". Uddalaka is an early Upanishadic rishi (scholar-poet, sage), whose ideas are found in the Brihadaranyaka Upanishad such as in section 6.2, and the Chandogya Upanishad such as over the verses 5.3 through 5.10.[44] These Hindu scriptures are variously dated between 900 BCE and 700 BCE, according to the Indologist and Sanskrit scholar Patrick Olivelle. Among with other ideas such as Atman (self, soul) and the ontological concept of Brahman, these early Upanishads discuss human life, activities and the nature of existence as a form of internalized worship, where sexuality and sex is mapped into a form of religious yajna ritual (sacrificial fire, Agni) and suffused in spiritual terms:[44]
According to the Indologist De, a view with which Doniger agrees, this is one of the many evidences that the kamasutra began in the religious literature of the Vedic era, ideas that were ultimately refined and distilled into a sutra-genre text by Vatsyayana.[45] According to Doniger, this paradigm of celebrating pleasures, enjoyment and sexuality as a dharmic act began in the "earthy, vibrant text known as the Rigveda" of the Hindus.[48] The Kamasutra and celebration of sex, eroticism and pleasure is an integral part of the religious milieu in Hinduism and quite prevalent in its temples.[49][50]
The Kamasutra manuscripts have survived in many versions across the Indian subcontinent. While attempting to get a translation of the Sanskrit kama-sastra text Anangaranga that had already been widely translated by the Hindus in regional languages such as Marathi, associates of the British Orientalist Richard Burton stumbled into portions of the Kamasutra manuscript. He commissioned the Sanskrit scholar Bhagvanlal Indraji to locate a complete Kamasutra manuscript and translate it. Indraji collected variant manuscripts in libraries and temples of Varanasi, Kolkata and Jaipur. Burton published an edited English translation of these manuscripts, but not a critical edition of the Kamasutra in Sanskrit.[52]
The Kamasutra is a "sutra"-genre text consisting of intensely condensed, aphoristic verses. Doniger describes them as a "kind of atomic string (thread) of meanings", which are so cryptic that any translation is more like deciphering and filling in the text.[65] Condensing a text into a sutra-genre religious text form makes it easier to remember and transmit, but it also introduces ambiguity and the need to understand the context of each chapter, its philological roots, as well as the prior literature, states Doniger.[65] However, this method of knowledge preservation and transmission has its foundation in the Vedas, which themselves are cryptic and require a commentator and teacher-guide to comprehend the details and the inter-relationship of the ideas.[65][66] The Kamasutra too has attracted commentaries, of which the most well known are those of 12th-century[66] or 13th-century[67] Yaśodhara's Jayamaṅgalā in the Sanskrit language, and of Devadatta Shastri who commented on the original text as well as its commentaries in the Hindi language.[65][68] There are many other Sanskrit commentaries on the Kamasutra, such as the Sutra Vritti by Narsingha Sastri.[66] These commentaries on the Kamasutra cite and quote text from other Hindu texts such as the Upanishads, the Arthashastra, the Natyashastra, the Manusmriti, the Nyayasutra, the Markandeya Purana, the Mahabharata, the Nitishastra and others to provide the context, per the norms of its literary traditions.[69] The extant translations of the Kamasutra typically incorporate these commentaries, states Daniélou.[70]
Another example of the forms of intimacy discussed in the Kamasutra includes chumbanas (kissing).[81] The text presents twenty-six forms of kisses, ranging from those appropriate for showing respect and affection, to those during foreplay and sex. Vatsyayana also mentions variations in kissing cultures in different parts of ancient India.[81] The best kiss for an intimate partner, according to kamasutra, is one that is based on the awareness of the avastha (the emotional state of one's partner) when the two are not in a sexual union. During sex, the text recommends going with the flow and mirroring with abhiyoga and samprayoga.[81]
Other techniques of foreplay and sexual intimacy described in the kamasutra include various forms of holding and embraces (grahana, upaguhana), mutual massage and rubbing (mardana), pinching and biting, using fingers and hands to stimulate (karikarakrida, nadi-kshobana, anguli-pravesha), three styles of jihva-pravesha (french kissing), and many styles of fellatio and cunnlingus.[82]
The first English translation of the Kama Sutra was privately printed in 1883 by the Orientalist Sir Richard Francis Burton. He did not translate it, but did edit it to suit the Victorian British attitudes. The unedited translation was produced by the Indian scholar Bhagwan Lal Indraji with the assistance of a student Shivaram Parshuram Bhide, under the guidance of Burton's friend, the Indian civil servant Forster Fitzgerald Arbuthnot.[99] According to Doniger, the Burton version is a "flawed English translation" but influential as modern translators and abridged versions of Kamasutra even in the Indian languages such as Hindi are re-translations of the Burton version, rather than the original Sanskrit manuscript.[97]
The Burton version of the Kamasutra was produced in an environment where Victorian mindset and Protestant proselytizers were busy finding faults and attacking Hinduism and its culture, rejecting as "filthy paganism" anything sensuous and sexual in Hindu arts and literature. The "Hindus were cowering under their scorn", states Doniger, and the open discussion of sex in the Kamasutra scandalized the 19th-century Europeans.[97] The Burton edition of the Kamasutra was illegal to publish in England and the United States till 1962. Yet, states Doniger, it became soon after its publication in 1883, "one of the most pirated books in the English language", widely copied, reprinted and republished sometimes without Richard Burton's name.[97]
In 1961, S. C. Upadhyaya published his translation as the Kamasutra of Vatsyayana: Complete Translation from the Original.[102] According to Jyoti Puri, it is considered among the best-known scholarly English-language translations of the Kamasutra in post-independent India.[103]
We're not meant to love the plot or the characters here. Not even the setting, the vividly described sites and cities. They all exist -- even sex exists -- so that Siegel can display his love of language. His title first points to the Kama Sutra, which was composed in an ancient, though not dead, language. Then Siegel throws wonderful ''living'' voices -- Mr. Gupta's Indglish, a basketball player's dialect, an aging movie actor's inspired vulgarity, the crazed patter of Indian hawkers, cabbies and tourist fixers. But the author's true passion is written language, dead on the page, revivified by a new context or by art. Roth attempts to rewrite the Kama Sutra in contemporary terms. Much more interesting, Saighal and Siegel show, is the process of retrieving the original's linguistic combinations -- Sanskrit words' multiple meanings, the strange categories they create, the cognitive frisson they cause, all impossible to experience without learned commentary.
Siegel's inventions, new and old, are too lovingly done to be mere parody. They are revels in languages -- in specialist or popular discourses -- presumed dead. While the novel's historical texts, both actual and imagined, give pleasure, they also tell an incisive history of Orientalism, Europeans' construction of Indian sexuality, the elision of exotic and erotic from which Roth and Lalita suffer. And since Roth finds anti-Semitism in the Orient, Siegel shows racism travels both east and west.
''Love in a Dead Language'' has paper chases and derivation quests, fine-print notes and multilingual puns. Even spaces between words get attention. Like Professor Roth, Professor Siegel plays verbal charades, inserting or closing up a space. One example: ''penis'' becomes ''pen is.'' When I found ''le clair de lune,'' this LeClair was Kinbote, certain ''Love in a Dead Language'' was for me, another professor. It's obviously not for every reader, and yet its fundamental and ingeniously varied theme is for everybody. Like snails, we may do sex by chemicals, testoserone and pheromones, but we love in language, dead or alive. Lalita's father calls Dr. Roth ''Dr. Ruth.'' Dr. Siegel advises all lovers anywhere.
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