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The fifth adhikarana deals with many plans and instructions to a male which will help him to seduce other wives. The main purpose of this chapter is to teach the ways of guarding one's own wife and not to be made use of for gaining over the wives of others. Vatsyayana is of the opinion that kama should be practised according to Otherwise it will become an illegitimate relation and it will ruin the man with his family and relatives. Vatsyayana gives the examples of king Dandakya, Indra, Kicaka and Ravana who tried to seduce the wives of others and ruined themselves. Dharma. 2 Kalyanamalla also prohibits the relation with another's wife, because it cuts down the duration of life, it makes the man a laughing stock, it loses the goal of 鈥� tadetadaraguptyarthamarabdham sreyase nrnam | prajanam dusanayaiva na vijneyo yayam vidhih || ka . su . 5.6.52. 2. yatha dandakyo nama bhojah kasad brahamnakanyamabhimanyamanah sabandhu rastro vinanasa | devarajascahalyamatibalasca kicako draupadim ravanaca sitayapare canye bahavo drsyante kamavasaga vinasta | ka . su . 1.2.44, 450

7 X 305 3 life in another world. He also gives the illustrations of Ravana, Vali and Kicaka who died on account of their lust for others' wives. Therefore Kalyanamalla says that sexual-sport even with another's wife should not be thought of in the mind. 4 Though adultery is prohibited by erotic as well as religious texts, Vatsyayana gives some special occasions which allow copulation with another's wife. Seducing other's wife is not for carnal desire, but it is to achieve the proper goal. Hence Upaharavarman who was interested in releasing his parents from the prison of Vikatavarman, sketches a plan to seduce Kalpasundari the wife of Vikatavarman, He thinks thus- "This object of mine is almost achieved. But on account of the violation of another's wife, Dharma may be obstructed. But 3. ayuh ksatirvikalatapyupahasyata ca nindartha hanilaghuta vigatih paratra || anamga . 8.34. 4. laikesvari janakajaharanena vali tarapaharakatayapyatha kicakasca | pa, calika grahanato nidhanam jagama taccetasapi paradararatim na kuryat || anamga . 8. 35.

it is allowed by the writers of sacred books, if thereby wealth and love can both be secured. I am going to incur sin, but the liberation of my parents will extenuate the sin and will endow me with some religious merit at least. Here Upaharavarman seduces Kalpasundarl, not for his sexual desire but to release his parents from the prison. The Kamasutra states that a man may resort to the wife of another man for the purpose of saving his own life. If a man feels that he will not live without her, then only he should try to win her mind. 6 Vatsyayana says that the passion or the sexual love grows in ten stages. These ten stages are accepted by the erotic writers and by rhetorical authors. According to the Kamasutra the ten stages are as following: 1) love of eye, 2) attachment of the mind, 3) constant reflection, 306 5. sidadhapraya evayamarthah | kim tu parakalatralaighanadadharmapida bhavet | sa'pyarthakamayodvayorupalambhe sastrakarairanumataiveti | gurujanabandhamoksopaya samdhina maya caisa vyatikramah krtastadapi papam nirhatya kiyatya'pi dharmakalaya mam samagrayediti | dasa . pr . 111.. 6. atmaprariropayattatranartham paraparigrahanabhyupagacchet | ka . su . 5.1.3. 5

4) destruction of sleep, 5) emaciation of the body, 6) turning away from all objects, 7) removal of shame, 8) madness, 9) fainting and 10) death. 7 307 Kokkoka also mentions the ten stages of a love-sick man and instructs to seduce other's wife when he reaches 8 the last stage. The stages narrated by the Rarirahasya are according to the Kamasutra. Kalyanamalla too, refers 9 to these ten love-lorn conditions. Description of these ten stages is seen in the literature ever and anon. The poets have made use of these stages when they depict vipralambha type of Srigara and when they sketch the heroes and heroines in love-sick condition. Elaborate 7. caksuh pritirmanah sangah samkalpotpattirnidraccheda stanuta visayebhyo vyavrttirlajja pranasa unmado murccha maranamiti tesam lidgani | ka . su . 5.1.5. 8. nayanapritih prathamam cittasangastato'tha sankalpah | nidraccheda stanuta visayanivrttistrapanasah || unmadi murccha mrtirityetah smaradasa dasaiva syuh | tasvarohati madane yayatparayositam svaraksayai || rati . 1 3.2, 3. || 9. drstiprema pura bhramo'tha manasi prokto'tha samkalpako nidrocchittiratah sariratanuta lajjavinasastatah | vairagyam visayesvatho nigadite unmadamurccha tato mrtyuhh syaditi panditaih smaradasa ukta dasaiva kramat || anamga . 8.36.

description of these stages is available in kavyas and suggestive depiction in dramas. 309 Mingl Love of eye is the first stage. Two human beings love one another because they look at one another. ing of the eyes is the birth place for love. There is a popular saying that 'the heart is in the eyes, thou must look there. Thus eyes have an important place in loveaffairs. Love at first-sight is very common in Sanskrit literature. Dusyanta, having seen Sakuntala in the hermitage exclaims about her sweet appearance. Then his mind becomes attached to her gradually. Sasiprabha, the servant of Haralata, describes this stage before Surdarasena thus- "when you have become an object of my friend's eyes, from that moment only she is controlled by the wretched cupid, love of eyes. 11 It 10 Here Damodaragupta has described the Agnimitra, having seen Malavika in the portrait falls in love. Thus the poets have sketched the first stage in their works according to the words of Kamasutra. 10. aho madhuramasam darsanam | abhi . pr . 10. 11. afada ged agideri matsfa a HEUT: 1 tata evarabhya gata vidheyatam dagdhamadanasya || kuttani . 288

1 309 The second stage is manahsanga or cittasanga i.e., attachment of the mind. If the mind of the lover always thinks about the partner and if he or she proceeds to gain the lover, that stage is called attachment of the mind. The messanger of Manjari tells Samarabhata thus- "You are looked at by my friend near her house for a long time. L.12 Now she has sent a message and a present to you. Manjari, whose mind was attached to Samarabhata is described here according to the second stage. She has sent a message which contains her love. Sakuntala, having seen Dusyanta, loves him. She is unable to tolerate the separation or to express her love before her friends. In this condition she says thus- "Powerful indeed is my attachment. Even now I am not able to tell them all of a sudden. 13 Madhava explains his condition thus- "Having seen that moon-faced damsel for a long time, my mind is returning from her with great difficulty. "14 Here 12. drstosi taya suciram gohamabhyase paribhraman sprhaya | sandesa esa dattah prakrtametattayadattam || kuttani . 830. 13. balavan khalu abhinivesah | idanimapi sahasaitayorna saknomi nivedayitum | abhi . pr . 56. 14. tamindusundaramukha suciram vibhavya yetah kathamkathamapi vyapavartata me | malati 1 . 21. }

Madhava says that his mind is attached to that damsel 1.e. Malata, and his mind is not ready to return. Hence he says that it is coming away with great difficulty. The swan narrates the second stage of love-sick Nala to Damayanti in this way- "O daughter of Bhima, though thou art not his life-breathe? No wonder that his mind with ,,15 thyself as its only object pervades thy portrait. Sriharsa has pictured the second love-lorn condition here picturesquely. In this stage a loveThe third stage is sankalpa. lorn human being thinks how to gain the partner and he or she becomes ready to wait for an opportunity, which mingles them. And they get pleasure by thinking of their union with their partner in the mind. Yaksa depicts his lover in this condition thus- "She may be depositing on the ground the flowers at the threshold, for counting the remaining months of the period starting from the day of separation, or tasting the pleasure of union which is ,,16 pictured in the mind. Here the beloved of Yaksa is 310 15. tvam hrdgata bhaimi | bahitapi pranayita nasikaya svagatya | ! na citramakramati tamtra citrametanmano yadabhavadekavrtti || naisa . 3. 105. 16. sesanmasanviraha diva sastha pitasyavadyeva vinyasyanti bhuvigananaya dehalimuktapuspaih | samyogam va hrdayaracitarambhama svadayanti prayenaite ramanavirahesvangananam vinodah || megha . 89.

311 waiting for her lover and getting pleasure by thanking of the union with her lover in the heart only. The swans which are narrating the love-lorn condition of king Nala states this condition in these words to Damayanti- "Unceasingly dost thou ascend the ever long stair way of his thoughts and the sighs that he plentifully heaves are due to his meditating on thee with his self absorbed in thyself. "17 The swan says that Nala was thinking about Damayanti always. Agnimitra, having seen the dance of Malavika extols her and tells his friend thus- "By the Creator in endowing her with charming knowledge, who is artlessly lovely, has been devised an arrow of the God of love, besmeared with poison. I should be thought of seriously by you. What more? "18 Here the king Agnimitra requests Vidusaka to chalk-out a plan to gain Malavika. 17. ajasamarohati duradirgha samkalpasopanatatim tadiyam | svasansa varsatyakim purnayadhyanattava tvanmayatam tadacya || naisa . 3.106 18. adhyaja sundari tam vijnanena lalitena yojayata | parikalpito vidhatra banah kamasya visadigdhah || mala . 2. 13. kim bahuna cintayitavyosmi |

312 1 The fourth stage is destruction of sleep. The lovelorn human being spends sleepless nights. He or she always thinks about his or her partner. Hence Kalidasa instructs the cloud to meet Yaksini at night. He substantiates it with these words: "Separation would not afflict her so much by day, engaged as she is in work. I am afraid that at night your friend without any diversion, would be afflicted far too heavily. So in order to cheer up by my messages, see standing at the window of the house that chaste one sleepless and lying down on the ground at midnight. "19 The poet clearly depicts that the Yaksini was not sleeping, at all as she was thinking about her lover. sriharsa sketches Nala in this stage, through the swans before Damayanti thus- "As he now lies in bed at night, there is no sleep for him, nor any damsel other than you who might, by embracing him, kiss his eyes, submerging his mind in stupor. ,,20 Bilhana 19. HOUTATRTHEIa a aur qiziqfayuia: ass erat geneyi faldatat neft a matsandesah sukhayinumatah paya sadhvim nisithe tamunnidramavanisayanam atylzagtaqfarai aguatatuazu: 1 A7.90. 20. sthitasya ratravadhisasya dhayyam mohe manastasya nimajjayanti | atfasta ar yufa atad at fagtyAT A cacas suas at 11 #7.3.108.

also describes this stage picturesquely. 21 The fifth stage of a love-sick man is tanuta or karsyata i.e, emaciation of the body. Sriharsa describes Nala who has become lean due to the torture of Cupid's Kalidasa too sketches his heroes and heroines in this stage. Agnimitra says that his body may be arrows. 22 emaciated when there is no pleasure of embracing the beloved. Samahitika, an attendant, remarks that 23 24 Malavika too during these days appears emaciated like a jasmine-garland worn and thrown away. Having seen Sakuntala, Priyamvada says- " Day by day, you are Indeed being reduced in your limbs. Only the glare of loveliness leaves you not. 25 " Further she remarks- "Even the 313 I 21. candratapaccandanapankavapim tatastamasmadapi tam jagama | tasyeti bahvayah smaratapitasya gatagataireva gatastriyamah || vikrama . 9.24. 22. smarena nistaksya vrthaiva banailavanyasesam krsatamanayi | naisa . 3. 109. 23. sariram ksamam syadasati dayita linganasukhe ...| mala . 3.1. P 24. malavikamyesu divasesvanutamukteva malatimala mlayamana laksyate | 417.3. Q.44. 25. anudivasa khalu parihiyate'gaih | kevalam lavanyamayi chaya tvam na muncati | abhi . 2. pr .56.

314 sagely king appears these days to be reduced through wake- ,,26 fulness. Here, Kalidasa has not only referred the karsyata stage but also mentioned the jagara stage which is described already. Some poets have described their heroines in this stage attractively. The emaciated body of a young girl is compared to the moon who has a single digit. Kalidasa's Yaksin who is emaciated by mental agony, resting on one side of her bed of separation appeared like the disc of 27 the moon with only one digit. Rudradeva depicts the love-lorn condition of Sarmistha thus- "The arb of her cheek has become pale by the fever of young love. And she appears like the digit of the moon, at the end of the night. "28 Rajasekhara describes Mrgankavati, who who was love-sick thus- "Before her the moon of the 26. rajarsih etan divasan prajagarakrso laksyate | abhi . 3. pr .60 27. adhiksamam virahasayane samnisannaika pasrva pracimale tanumiva kalamatrasesam himamsoh | maigha01| $ 28. durvarapacesu navopatapadasadita panduragandapali | vibhati cabhyam vihitopacara nisavasane sasinah kaleva || yayati . 4.27掳

315 first day is fat. 29 Kamandaki having seen Malati states- "She is giving pleasure to the eyes by her body of which limbs have become very lean, which has become pale like rippen plantain-stalk and which appears like a moon who 1,30 has a single digit.' Thus there are many illustrations for this stage. The sixth stage is turning away from the objects of enjoyment. In this condition the love-lorn person discards everything and thinks about the lover. King Yayati, having seen Sarmistha becomes love-sick and states- "Keeping that beautiful lady in my heart and having turned away from all others, from complete detachment from seeing her a long time I feel that I see a ,,31 vision experienced in a dream."" King Vatsaraja having observed Priyadarsika is affected by intense love. He neglects his kingly duties and takes pleasure in 29. yesamagre pratipadudita candrarekhapyatanvi || vi . bha. 4. 10. 30. nikamam ksamaigrim sarasakadaligarbhasubhaga | kalasesa murtih sasina iva netratsavakari || malati . 2. 3. 31. tameva tanvim hrdaye nidhaya nihsangabhavaditaranuvrttam | kathamcidalocanato'tivelam svapnanubhutarthamivasmarami || yayati . 4. 9.

thinking about the plans which will him to gain ner. 32 33 The mind of the king Agnimitra is attached to Malavika only and it turned away from the ladies of the harem. Hence he says "where shall Ipass the rest of the day with a mind averse to the proper duties?" 34 Thus most of the poets have described this condition in their works. 316 The seventh step of a love-lorn man or woman is laj ja-pranate 1.e. removal of shame. The swan narrates the seventh stage of Nala before Damayanti in these words- "He would not fear sin itself, if it brought the to him and he would not even be ashamed to be a slave 鈻� thee. Has Cupid somehow damaged even his character by piercing him severely with sharp arrows?" Sakuntala also, at 35 325 atimahankhalu priyavayasyastharanyakaya uparyanuragah | yena parityaktarajakaryastasya eva darsanopayam cintayannatmanam vinodayati | priya . 3. pr . 23. 33. sarvantahpuravanita vyaparapratinivrtta hrdayasya | sa vamalocana mem snehasyaikayanibhuta || mala . 2.14. 34. ayemam divasasesamucitavyaparaparaimukhena cetasa kva nu khalu yapayami mala . 3. pr . 48. ? 35. tvatprapakantrasyati nainaso'pi tvayyesa dasye'pi na lajjateyat | smarena banairatitaksya tiksnairlanah svabhavo'pi kiyankiyasya || naisa . 3.110.

the initial stage, does not express her love before her friends. But when the two friends ask her again and again she hides her feelings due to shame, but becomes unable to hide it for a long time. Then she expresses her love towards Dusyanta openly without any shame. Here Sakuntala is also depicted as being in the seventh stage. * L 36 317 The eighth stage is Unmada or madness. describes Ravana in this stage picturesquely. Pravarasena The ten faced king, due to the separation of sita, thinks breathes, exhausts, shudders his shoulders, shakes his all faces and laughs without pleasure. 37 The madness of Nala _s narra- -s ted by swans to DamayantI thus- "He is suddenly frightened, fancying thou art angry, and laughs without any occasion, fancying he has got thee; without any reason he follows thee, as if thou art going away and replies to the air as if addressed by thee."38 Mahasveta describes her own 36. tata arabhya tadgatenabhilasenaitadavasthasmi samvrtta | abhi . 3. pr . 58. 37. fu-aufa rafafa faua arg qfeytzofa yalla guAutay | hasati paritosa sunyam sitanisprasaramanmatho dasavadanah || setu . 11.3. 38. fanfa geetfa fadcuszarca cat famtafa EHRUGTOS I graffka zaruz utcuealgaazcaua glaafar Atag 117.3.112.

319 state of madness after seeing Pundarika in these words- "Reaching home I entered the inner quarters reserved 39 for princesses; and from that moment onwards grieving at his separation I was never aware of anything out of all these; viz., whether I had returned or stayed in that same spot; whether I was alone or in company; whether I was silent or talking freely; whether I was awake or asleep; whether I was crying or not crying; whether it was all misery or all happiness; whether it was the yearning of love or a disease; whether it was a calamity or a festival; whether it was night or day; and which things were attractive and which were not etc. And being unfamiliar with the ways of love I did not know anything out of all these viz., where I should go, what should I do, what should I listen to, what I should see, what I should speak, in whom I should confide and what the remedy 39. gatva ca pravisya kanyantahpuram tatah prabhrti taduvirahavithura kimagatasmi kim tatraiva sthitasmi kimekakinyasina kim parivrttasmi kim tusnimasmi kim prastutalapasma kim jagarmi kim suptasmi kim rodimi kim na rodimi kim duhkhamidam kim sukhamidam kimutkantheyam kim vyadhirayam kim vyasanamidam kimutsavoyam kim divasah esah kim nivesa kani ramyani kanyarampani iti sarvam navagaccham | avijnana madana vrttanta ca kva gacchami kim srnomi kim pasyami kimalapami kasya kathayami ko sya pratikarah iti sarva ca najnasisam | kadam 鈥� pr . 234. TG.9.234. '

A 1 was. This detailed description of Bana shows that Maha- Sveta has lost her power of discrimination and became mad for her lover Pundarika. 319 The ninth stage is murcha or fainting. The tenth and the last stage is marana or death. These two stages show the intense love of lovers. Sarmistha in her lovelorn condition laments and prays to the God thus- "O God, if you create love in the hearts of women, of what avail is it? And if there is love why do you not bring them death when they are separated? Friends, hold me, "(Having said thus she faints). The dramatist Rudradeva has 40 mentioned both the stages here. Ratnavall having lost all interest in life due to her love-sick condition tells her friend thus- "Friend, love is adverse; hence now death "41 itself is my refuge. Sriharsa has showed here that Ratnaval is ready to leave her life due to love-sickness. Sasiprabha, the duti of Haralata describes the love-lorn 40. deva yadi dadasi janma mahilanam kimartham tatprema | I atha prema, tatkimartham na vitarati virahe maranam ca || sakhyah mamavalambatah | iti murcha natayati G yayati . 4. 28. 41. priyasakhi visamam prema maranam saranam tu varamekam | ratna . 2.

320 condition of her mistress and requests Sundarasena to protect her from the tenth stage of Cupid. 42 Damodaragupta has mentioned the last stage here. Bana describes in detail the death of Pundarika, who lost his life due to intense love sickness. Sakuntala requests her friends 43 to help her for the union with her lover. Othervise they should perform the obsequies for her. This shows that she was also in the last stage of separation. Nela's fainting is described thus- "Alas alas, this valiant king is sinking helpless (like an elephant) in the mire of utter delusion on the island of swoon in the Yamuna river of incessant sorrow caused by Damayanti's absence. 44 Thus the ten stages mentioned by Vatsyayana have occupied an important place in the literature. Though 42. na param patati varaki dasamim yavanmanobhavavastham | trayasva subhaga tavaccharanagataraksanam vratam mahatam || kuttani . 300. 43. pruunari fa,ad a famizsy | HTH.3. 搂.58. 44. bhavadviyoga cchidurarti dharayamasvarmajjati nihsaranyah | succhamayadvipa mahandhyapake ha ha mahibhrdbhataku - jada yam || naisa . 3. 113.

Vatsyayana has mentioned these stages during the lovesickness for another's wife, poets have described all types of relations. We see elaborate description of love-lorn conditions in the Mahakavyas. These stages have helped to depict love in separation or Vipralambha Sringara. 321 The Kamasutra further quotes the opinion of Gonikaputra who generalizes the characteristics of men and women. He says- "A woman falls in love with every handsome man she sees and so does every man at the sight of a beautiful woman; but frequently they do not take any ,,,45 further steps owing to various considerations. 46 In love the nature of woman is peculiar. She loves without 47 regard to right or wrong. The Ratirahasya also opines in the same way. 48 Vatsyayana further states that when 45. yam kacidujvalam purusam drstvastri kamayate tatha puruso pi yositam, apeksaya nu na pravartate iti gonikaputrah | ka . su . 5.1.8. 46. tatra striyam prati visesah | ka . su . 5. 1.9. 47. na stri dharmadhirma capeksate kamayata eva 48. ujvala vapusam purusam kamayate stri naropi tam drstva | anayoresa visesah ...... ka . su . 5.1.10. 1 ST.7.5.1.10. stri kaiksati dharma nirapeksa || rati . 13.15.

322 49 But a man makes upto her, she naturally shrinks from him even though she has desire to unite with him. when the attempts to gain her are repeated, she consents. 50 Many poets and dramatists have described the nature of women according to the above sutras. There are innumerable verses in fable literature and in subhasitas which express and elaborate the above idea. Rudradeva says- "A woman's heart, though by nature hard is yet straightforward. It wastes itself being fascinated by a beautiful form and does not consider the right and the wrong ,,,51 things. A subhasitakara says- "A woman's secret part becomes wet, like an un-annealed vessel with water, after seeing a beautiful man though he may be brother Kancinatha in his Ratirahasya-dlpika commentary or son. ,,52 49. svabhavacca purusenabhiyujyamana cikirsantyapi vyavartate | ka . su . 5.1.11. 50. punah punarabhiyukta siddhyati | ka . su . 5.1.12. 51. mahila janasya hrdayam nisargavisamamapi rju ca | klamyati rupalubdham na khalu laghuguruvicarayati || yayati . 4. 8. 52. surupam purusam drstava bhataram yadi va sutam | yonih kliyati narinamamapatramivambhata || su .ra.bham . pr . 349 - 40.

323 quotes another verse which says that the female's secret part becomes damp having seen a handsome man or Father The above illustrations show or brother or son. 53 clearly that a passionate woman does not consider dharma or adharma. i Therefore many poets have sketched woman as sexy, Sudraka describes that having fickle and unworthy. fixed upon one man in their heart, they invite another by their glances; they pour an effusion of joy on a third one while they carnally desire quite another still. This shows the flitting nature of a sexy woman. Visnusarman also states the same as "She speaks with one; looks at another affectionately and thinks about the third one in her heart; hence nobody is in real love 55 with women. She gives more importance to her carnal 54 1 53. sundaram purusam drstava pitaram bhataram sutam | yonirdravati narinamiti .. .... || rati . di . pu . 125. 54. anyam manusyam hrdayena krtva anyam tato drstibhiraddvayanti | anyatra muncanti madaprasekamanyam sarirena ca kamayante || mrccha . 4. 16. 55. jalpanti sardhamanyena pasyantyanyam savibhramah | hrdgatam cintayatyanyam priyah ko nama yositam || pamca . 1 - 146.

324 , desire than real love. She sleeps with any man whether he may be handsome or ugly; whether he may be old or he 56 may be unfit. The Hitopadesa also opines- "Women neither love nor hate any man; they desire every new man like a 57 cow which wants always new grass in the forest. Further it says that woman's food is two times more, skill is four times, activities are six times and sex desire is 58 eight times that of a man. Fire will not be satisfied with fuel; ocean will not be satisfied with rivers; God of Death will not be satisfied with whole creatures. In the same way a woman will not be satisfied with men. 59 56. nasam kascidagamyosti nasam ca vayasi sthitih | virupam rupavantam va pumanityeva bhumjate || pamca . 1.1540 57. na strinamapriyah kascit priyova'pi na vidyate | gavastrnamivaranye prarthayante navamnavam || hita . 4.8. 58. aharo dvigunah strinam buddhistasam caturguna | sadguno vyavasayasca kamascastagunah smrtah || hita . 5.1. 4.9. 59. nagnistrpyati kasthanam napaganam mahodadhih | nantakah sarvabhutanam na pumsam vamalocana || hita . 2. 115.

Thus the nature of the woman is depicted according to the words of Kamasutra. Kamasutra narrates the nature of man in this matter thus: When a woman is once gained, he often becomes indifferent to her. It is usually said that a man does 60 not care for what is easily gained, and only desires a thing which can be obtained with difficulty. The same 61 idea is reflected in the sentences of Damodaragupta where he extols paradararati. He says that congress with a married wife is for progeny; with a harlot for lust. But union with another's wife, who is gained with great 62 difficulty, is called real love-sport. Here the poet has used the word krechra i.e. with difficulty, deliberately to show that he has followed the general rule which was mentioned this point by Vatsyayana. sudraka has mentioned this point in his drama. Madanika, the maidservant of Vasantasena, having known her mistress's love 325 60. faqurut a arcuri reola | ka . sa. 5.1.15. 61. sulabhamavamanyate durlabhamakaiksate iti prayovadah | ka . su . 5.1.16. 62. dararatih santataye vyadhiprasamaya cetikaslesah | tatkhalu suratam suratam krcchraprapyam yadanyanarisu || kuttano- 812.

326 towards Carudatta advises her thus- "Lady, if you desire him, then why is it that you do not now approach him of your own accord at once?" To this Vasantasena, who knows the nature of man, which is stated by Kamasutra, replies- "Girl, if I were to go to him myself at once, then being unable to make an adequate return, he may probably make it impossible for me to visit him again. "63 The Kamasutra further states some causes of a woman Vatsyayana gives who rejects the love of another man. a list of men who will get success in gaining other's wife. Further it gives another list of women wh蓴 are easily gained. Among them some are as follows: A woman who has co-wife, a woman who hates her husband, a woman whose husband is travelling, a woman who is the wife of 64 a sick man or oldman. In the Dasakumaracarita, Kalpasundari loves Upaharavarma because she was hating her 63. ceti - arye, yadi sah manisitastatkimarthamidanim sahasa nabhisati | vasantasena ceti, sahasa'bhisaryamanah - pratyupakara durbalataya ma tavajjanah durlabhadarsanah punarbhavisyati | prccha . 2. pr . 70. 64. sapatnya'dhivinna, bhartrdesini, prosita patika, rogi vrddhamaryasca | ka . su . 5.1.52.

65 husband Vikatavarma who was very ugly. The wife of an 327 old man is like a lamp which is in the hand. It is helpful for others only not for one who holds it. The wife of a traveller is described in literature variously. She in that separation welcomes males suggestively for sexsport. A passionate woman says thus- "O traveller, this village is full of stones; there is no other lodging place; Having seen the high clouds (breasts) if you want ,,67 to dwell here you are permitted. Here that woman having showed her breasts attracts him for dwelling. Another lady invites a man negatively thus- "My motherin-law is unable to see; my husband has gone out of station; I am alone here, hence how you will dwell here?"68 65. trtiya ucchvasa - da . 66. panigrhitapi puraskrtapi snehena nityam parivardhitapi | 67. paropakaraya bhavedavasyam vrddhasya bharya karadipikeva | su . ra. bham . pr . 352.22. grame'sminprasutarapraye na kimcitpanya vidyate | payodharonnatim drstva vastumicchati caidrasah || su . ra. mam . pu . 354.67. 68. viksitum na ksama pavanah svamidurataram gatah | ahamekakini bala taveha vasatih kutah || su . ra. bham . pr . 354.68.

3' Here she is insisting on him indirectly to spend the night there only. In this way many poets have sketched the women who are easily gained by the men.