The Book of Love
The Book of Love
The Story of the Kamasutra
JAMES MCCONNACHIE
Metropolitan Books
HENRY HOLT AND COMPANY • NEW YORK
Metropolitan Books
Henry Holt and Company, LLC
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Copyright © 2007 by James McConnachie
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Distributed in Canada by H. B. Fenn and Company Ltd.
Originally published in the United Kingdom in 2007 by Atlantic Books, London.
Library of Congress Cataloging-in-Publication Data
McConnachie, James.
The book of love : the story of the kamasutra / James McConnachie.—1st U.S. ed.
p. cm.
Includes bibliographical references and index.
ISBN-13: 978-0-8050-8818-2
ISBN-10: 0-8050-8818-0
1. Vatsyayana. Kamasutra. 2. Love. 3. Sexual intercourse. I. Title.
HQ470.S3M33 2008
306.7—dc22
2007047172
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and premiums. For details contact: Director, Special Markets.
First U.S. Edition 2008
Designed by Lindsay Nash
Printed in the United States of America
1 3 5 7 9 10 8 6 4 2
Contents
List of Illustrations
Preface
1. The Wheel of Sexual Ecstasy
2. Pleasure in the Passions
3. The Hindoo Art of Love
4. Rending the Veil
5. A Doubtful Book in Old Age
6. Overwhelming Obscenity
7. Kama Commodified
Note on Sanskrit Spelling and Pronunciation
Bibliographical Essay
Acknowledgements
Index
Illustrations
1. Prince Visvantara and his wife Madri, Ajanta. Photo: akgimages, London, Jean-Louis Nou. Scan: courtesy of the Bodleian Library, University of Oxford.
2. Krishna and Radha look at their reflection. Freer Gallery of Art, Smithsonian Institution, Washington, D.C. Gift of Mr and Mrs Charles Page, F1991.90.
3. Statues at Laksmana temple, Khajuraho. Photo: Rajan Atrawalkar, Jalgaon, India.
4. Kamakala Yantra superimposed over an erotic sculpture of the Laksmana Temple, Khajuraho, dated 954. Image from Tantra in Practice, edited by David Gordon White (Princeton: Princeton University Press, 2000). Composition by Michael Rabe. Courtesy of Michael Rabe and Princeton University Press.
5. Bihari Satsai illustration: ‘Stay with me, my love’. Courtesy of Ludwig Habighorst.
6. Bihari Satsai illustration: ‘Clad in a newly-washed garment, the nayika is cooking’. On permanent loan to the Museum Rietberg from the collection of Barbara and Eberhard Fischer. Photo: Rainer Wolfsberger.
7. The private pleasure of Prince Muhammad Shah. Courtesy of the Fitzwilliam Museum, University of Cambridge.
8. Richard Francis Burton. Photo: Rischgitz/Getty Images.
9. Richard Monckton Milnes. From a pastel drawing by George Richmond.
10. Bhagvanlal Indraji. Courtesy of the Asiatic Society of Mumbai.
11. The ‘Banares copy’ of the Kamasutra. Courtesy of the Bodleian Library, University of Oxford.
12. Richard and Isabel Burton with Foster Fitzgerald Arbuthnot in Trieste. Permission of the London Borough of Richmond upon Thames, Borough Art Collection, Orleans House Gallery.
13 & 14. Illustrations by Mahlon Blaine from Kama Sutra: The Hindu Science of Love (1936). Courtesy of Penn State Schuylkill.
15. Alain Daniélou at Khajuraho, 1943. Copyright Raymond Burnier, Khajuraho, 1943. Archives du Centre A. Daniélou, Zagarolo/Roma.
16. The 1991 launch campaign for the KamaSutra condom. Courtesy of J. K. Ansell Limited, India.
17. Image from The Pop-Up Kama Sutra (London: Salamander Books Ltd.), page 25. Reproduced by permission of Anova Books Company Limited. Published in North America by Stewart Tabori & Chang, ISBN 978-1-58479-302-1. Photo: James McConnachie.
Preface
My relationship with the Kamasutra began a little over ten years ago, when some teasing Nepalese friends presented me with a glossy, hardback copy of the ‘book of love’. It was a classic Indian-produced edition, heavily illustrated with garishly explicit miniature paintings, but lacking any explanation of the origins of the actual text. It matched all my expectations of what an Oriental sex manual would be. It was baroque in its delight in variation and ornamentation, pedantic in its obsessive enumerations and slightly alarming in the freedom of its sexual play. Disappointingly, it was not particularly seductive.
On returning to the UK, I discovered that my gift edition in fact comprised just one of the seven ‘books’ of the original work. I had, of course, the most notorious section, the one on ‘how to do it’. Spotting a ‘complete and unexpurgated’ paperback copy on a friend’s bookshelf, I realized that what had seemed a fairly straightforward sex manual was more like a book of conduct. It was certainly not pornography, but rather a complex and often beguiling guide to negotiating the maze of ancient Indian social relationships. There was a philosophical section on the role of pleasure in life, which also incorporated some satisfyingly rich depictions of the lifestyle of the ideal lover. There were sections on the seduction, enjoyment and lifestyles of, variously, ‘Virgins’, ‘Wives’, ‘Other Men’s Wives’ and ‘Courtesans’, which read like the raw material of some Chaucerian tale. There was also a curious coda on aphrodisiacs and bizarre magical-herbal remedies.
I found this new, greater Kamasutra no more arousing than the first, but it was definitely more seductive, its descriptions of a shining third-century world many times more fascinating than the tedious lists of ways of embracing or scratching with the fingernails that I’d first encountered. At times, I was astonished to recognize scenes from an India I knew. More often, I was struck by how distant the world it described seemed to be. It certainly had little to do with my experience of South Asian village life, where I was supposed to ensure the door stood wide open if a woman entered my room. (No woman ever did.) It had still less to do with the India in which the Health Minister of the Hindu-fundamentalist Bharatiya Janata Party had responded to the country’s mounting Aids crisis by proclaiming that India’s native traditions of chastity and fidelity were more effective than the use of condoms. Or the India in which the film censors demanded that Mira Nair cut no less than fourteen scenes from her sensuous film Kama Sutra – A Tale of Love before it could be screened in public.
What on earth could have happened between the apparently carefree composition of the Kamasutra in the third century and the problematized publication of my gift copy at the end of the twentieth? Had the colonizing West somehow infected an entire culture with sexual conservatism? Or were the seeds of the Kamasutra’s own future downfall already present in the book itself? In tracing the extraordinary life of the Kamasutra from palm-leaf manuscript to coffee-table book, across the long intervening centuries, I thought I might find answers. Instead I have ended up writing a book that is only partly about India.
This is as much the story of the modern world’s discovery of the Kamasutra as it is the story of the Kamasutra itself. It is the story of a book that offered men a vision of a libertine paradise and women the (almost) equal right to pleasure, a book that gave the Wes
t a new aspiration for personal conduct, a new and sensuous dream in place of centuries of uneasy nightmares. And it is the story of two extraordinary Victorian Englishmen who wanted to change the world in precisely this way: the modest, dogged and entirely obscure Indian civil servant, Foster Fitzgerald Arbuthnot, and the swashbuckling, slapdash and utterly controversial explorer, Richard Francis Burton. Without them and their furtive yet heroic efforts to find, translate, print and ultimately popularize the Kamasutra, this rare gem would likely have remained hidden in dusty obscurity.
This is, above all, the story of a book, of how something as fragile as an idea and as evanescent as an image of the world can be cradled between hard covers and nursed down the centuries. The Kamasutra has had to survive more vicissitudes than most. It was born in response to the threatened extinction of its entire lineage – the family of scientific works on the subject of sexuality had become scattered and enfeebled, its author tells us, and the Kamasutra carried the burden of continuing the bloodline. It was overshadowed through most of its life by older, more robust and often hostile siblings, the great Hindu texts on law, politics and salvation, while its artistic-minded children chose to languish in the exquisite but febrile world of erotic poetry, drama and court painting, forgetting their earnest and dedicated roots. It was slowly forgotten in the land of its birth until, in the nineteenth century, it was dragged out of obscurity by imperialist agents, forced into unfamiliar and misrepresentative clothing and transported overseas. It found little welcome on arrival in the West, and was obliged to scurry furtively between London and Paris, just barely surviving by selling itself to the dubious customers of backstreet bookshops under the constant threat of imprisonment. When it was finally given its freedom, in 1963, it found itself briefly fêted and lauded but, as the years went by, it was increasingly elbowed out of the limelight by clownish impersonators.
Today, the Kamasutra is the single most famous ‘Oriental’ book of all. It is better known than its worthy, mystical Hindu cousin, the Bhagavadgita, and more celebrated, even, than the legendary Arabian Nights, notwithstanding Richard Burton’s own prediction that ‘a manual of erotology cannot have the interest of the Nights’. Despite its fame, what the Kamasutra actually says remains a mystery to most people both in the West and, more surprisingly perhaps, in India. Certainly, its contents are not as often repeated in the bosom of the family as the stories of Sinbad the Sailor or Aladdin and his Lamp.
The ‘book of love’ seems to have two popular reputations, one as an exotic compendium of absurdly acrobatic sexual positions that would probably be embarrassing or even dangerous to attempt – but might just possibly be rewarding. The other is as a repository of Oriental erotic wisdom, the Ur-text of a profoundly spiritual tradition that makes the crudely physical goals of Western sexuality look laughably superficial and puts the repressive, patriarchal heritage of the Christian world to shame. Either way, the Kamasutra is known as the definitive exposition of the art of lovemaking, the ancient authority to which all later efforts in the genre must refer. It has become a byword for sex itself. Just as there are ‘very Bibles’ of rules or advice, and ‘veritable odysseys’ of journeys or sustained searches, any book or film or intimate afternoon that aspires to truly baroque sexual variety or astonishing levels of experimentation is a virtual Kamasutra. Somehow, an ancient Indian treatise on the erotic now ranks among that rare body of iconic works whose title alone can stand for the very thing it represents.
Writing this book has turned out to be something of an odyssey in itself – by which I mean that there have been endless obstacles in my path. More than 120 years after the Kamasutra was first translated into English, sex is still not an entirely respectable area of study. The pioneering 1883 edition of the Kamasutra was not openly published in the UK or US until 1963, while the first translation of the Kamasutra directly into English by a professional scholar was completed only as recently as 2002. (It is Wendy Doniger and Sudhir Kakar’s edition for Oxford University Press, and I owe it a major debt.) Remarkably little serious research has been done on the Kamasutra itself, or even the context in which it was written. There are only a few obscure and old-fashioned monographs published in India, some paralysingly worthy tracts written in late-nineteenth-century German, and a half-handful of highly specialized articles by contemporary academics. There is, by contrast, a torrent of woefully inaccurate and sensationalizing publications on the Indian erotic, most of it repeating the same old mildly titillating misinformation.
When it comes to the life of Richard F. Burton, the flood of bad books surges still higher. Most of the scores of biographies repeat the same old canards about the Kamasutra – principally, the notion that Burton translated it. (Mary Lovell’s A Rage to Live and Dane Kennedy’s The Highly Civilized Man are superb exceptions.) By contrast, Burton’s chief collaborator in the venture, Foster Fitzgerald Arbuthnot, lacks even a decent obituary to his name, while the Indian pandits, or scholars, who did much of the actual translating work have all but vanished into historical oblivion. This book attempts to rescue the admirable Bhagvanlal Indraji and the still-shadowy Shivaram Parshuram Bhide from that undeserved obscurity.
Even tracing the afterlife of the Kamasutra in the twentieth century has not been smooth. Early editions of the ‘Burton’ text were, almost exclusively, furtively printed by purveyors of clandestine pornography. Places and dates of publication were often forged, and statements about the contents of the book, or the origins of the text used, were evidently designed as pornographic advertising rather than actual, reliable information. Few libraries bought or kept such publications, and even the ones that did, such as the British and Bodleian libraries, still impose restrictions on how and where the books may be read – even if they can be found at all, given the confused state of the catalogues. In the 1970s, the Bodleian, in Oxford, suffered from a zealous librarian who actually instituted a purge of books that might corrupt students’ morals. Hundreds were transferred to the restricted ‘phi’ shelfmark – where many stay, for want of equivalent liberalizing energy. The Kamasutra is among them.
Even in the glossy new British Library, I’ve had to collect books – even innocuously unillustrated ones – from locked cabinets, then take the long walk of shame over to the isolated ‘special materials’ area in the Rare Books Reading Room, there to make notes under the avuncular eye of the music librarian. One valuable source of eroto-bibliography, an annotated copy of the infamous Index Librorum Prohibitorum, even comes with a note insisting: ‘Please replace immediately in Strong Room upon return to storage,’ and this is seemingly not because of its value but its sexually explosive properties.
Occasionally, I’ve been confronted with my own lurking sense of embarrassment. I’ve found myself concocting tactfully discreet misrepresentations of the nature of my work, and I’ve fended off endless amused speculation on the exact nature and scope of my research. I’ve sometimes told outright lies. The respected parents of one Brahmin friend must have wondered why I blushed so deeply when I told them I was writing about ‘early Hinduism’.
Competing with these puritanical reactions has been my own growing sense of political purpose. The Kamasutra may no longer be the world’s most detailed or most practical compendium of sexual knowledge. In India it lost that status as long ago as the twelfth century, when it was supplanted by medieval manuals that were narrower but more explicit – that saw fit to mention, for example, the clitoris. As a text, the Kamasutra is no more than the glorious ruin of an ancient pleasure palace, a site to be marvelled at but no longer occupied. It is an archaeological dig rather than a blueprint for the construction of a culture. But as a book, as an object carrying with it all the extraordinary after-history of its adventures since its birth, the Kamasutra continues to be potently relevant.
Its life in the West has been defined by the foster-parents who have coaxed it out of the quiet of the library or the darkness of the pornographic bookshop and into the noise of the political battlefield. Each
parent has seen different qualities in their adopted child, but the broader battlefield has been the same: the endless campaign of liberalism against repression. Burton and Arbuthnot deliberately placed their translation of the Kamasutra at the end of a line of publications opposed to paternalism and prudishness. They planted it like a time bomb in the heart of Victorian polite society and finally, in the wake of the overturning of the Chatterley ban, the bomb went off. In the 1960s, astonished readers acclaimed it as ‘a picture of a great and highly civilized society’ and ‘an expression of fundamental Indian attitudes’ that delivered a ‘salutory shock’: the world could be sensuous and civilized; the moralists had no monopoly on refinement. In the 1970s, the sexologist Alex Comfort wielded the Kamasutra in the cause of pacifism and libertarianism, while in the 1990s it was brandished for gay rights by the idiosyncratic Hindu convert, Alain Daniélou. Today, in India, the Kamasutra is still held up as a proud example of that country’s alternative tradition of sexual morality.
This ‘biography’ of the Kamasutra is, first and foremost, the story of a life. The first chapter begins with a kind of conception, after all, and with the Kamasutra’s birth in ancient India. But I also offer it as a modest sortie in the long war against authoritarianism. If there is a moral to this tale, it is that we can attempt to govern our own desires, but we cannot command the desires of others. As Vatsyayana, the original sage-author-compositor of the Kamasutra, wrote some eighteen hundred years ago:
The Book of Love- The Story of the Kamasutra Page 1