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Kamashastra Discourse (Life in Ancient India)

by Nidheesh Kannan B. | 2018 | 52,434 words

This page relates ‘Impact of Urbanization: Literary Gleanings� of the study on Kamashastra representing the discipline of Kama (i.e., ‘sensual pleasure�). The Kamasutra of Vatsyayana from the 4th century is one of the most authoratitive Sanskrit texts belonging this genre. This study focusses on the vision of life of ancient India reflected in Kamashastra.

Go directly to: Footnotes.

6. Impact of Urbanization: Literary Gleanings

It is interesting to observe that the description about village is rather incidental, not deliberate in Sanskrit literature. On the other hand, copious graphic descriptions of the forest and of the city are seen. If one follows the technical rules for the composition of a Ѳ屹ⲹ, representations or descriptions of the cities, as those of oceans, mountains etc. are the essential ingredients[1]. In ī쾱峾ⲹṇa we can find a detailed description about the characteristics of an ideal city[2]. Other thn ǻ, there are two other major cities called ṅk and ṣkԻ also mentioned in ī쾱峾ⲹṇa, but the aim of ī쾱 is to expose ǻ under the category of an ideal city. For this reason he virtually constructed a role model for being effected for all the cities.

The chapter Nāgarakavṛtta-첹ṇa of ٲⲹԲ-峾ūٰ opens with a recommendation about where young persons of all ṇa, entering the life of a householder after completing education, should reside at the places like nagara, 󲹰ṭa, mahat or the place where good people inhabited[3]; there may be different good places to live in, but the list gives priority to nagara, the city. Another important reference on details about an ideal city-life in a very detailed manner can be seen in the Caturbhāṇi plays[4]. Some of the visible examples are as follows. In the play 󲹲󾱲, the character (ṭa) describes the beauty and characteristics of the city named Kusumapura[5]. Here it is stated that, only the various physical components do not make a city; a city is what its inhabitants make of it. In short the entire beauty is concluded thus; “Due to the people’s lack of any fear, their constant taking part in festivals with happy faces, their graceful wearing of jewels, and their gorgeous decorations of the body with garlands, scents and fine clothes, their interest in various diverting sports and for their other equally well-known qualities, the earth with ṭaٰܳ as her tilaka appears, as it were, like heaven� (Brajadulal Chattopadhyaya, 2003: 123).

Another statement about the same city depicted in the play ٳūٲ-վṭa thus: “It is in the fitness of things that the city of Kusumapura, unlike the other cities, enjoys in the world an unexceptionable reputation. Many are the high buildings in it. From its very dense population as well as its heaps of merchandise, people are astonished to mark its special opulence. But what are there to be astonished at? There are other wealthy cities are abundant in literature. But there are certain uncommon features too. It has been said: “Here donors are plentiful; arts are prized; woman’s company can be enjoyed through polished manners; the rich are neither conceited nor jealous [one another]; men are not without learning, they esteem highly one another’s merits and are grateful [to their benefactors]. [In short] even Gods can find happiness in this city after quitting heaven�[6] (Brajadulal Chattopadhyaya, 2003: 123).

in 岵Ծٰ stated about the standard or quality of livelihood in a single sentence, which emphatically pronounces upon the foolishness of getting gems tested in a village when the commercial city exists, the expression leaving one in no doubt about the unquestionable supremacy of service available in a city[7].

There are many more examples about the glorification of city and city life which can be quoted from different texts like Śū첹’s ṛc첹ṭi첹.

Footnotes and references:

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[1]:

nagarārṇavaśailartu candrārkodayavarṇanai� | udyānasalilakrīḍāmadhupānaratotsavai� || (kāvyādarśa�, 1. 16)

[2]:

ī쾱峾ⲹṇa, 1. 5

[3]:

gṛhītavidya� pratigrahajayakrayanirveśādhigatairarthairanvayāgatairubhayairvā gārhasthyamadhigamya nāgarakavṛtta� varteta | nagare kharvaṭe mahati vā sajjanāśraye sthanam ||  (kāmasūtra, 1. 4. 1-2)

[4]:

Caturbhāṇi is a collection of Four ṇa plays namely; ʲ峾ṛt첹 of Śū첹, Dhūrttaṭasamvādah of Īśvaradatta, 󲹲󾱲 of Vararuci and 岹ḍiٲ첹 of Śyāmilaka respectively

[5]:

aho! kusumapurarājamārgasya śrī� | iha hi-susiktasaṃbhṛṣṭoccāvacakusumopahārā anyagṛhāṇāṃ vāsagṛhāyante ٳ� | nānāvidhānā� paṇyasamudāyānā� krayavikrayavyāpṛtajanena śobhante'ntarāpaṇamukhāni | brahmodāharaṇasaṃgītadhanurjyāghoṣairanyo'nyamabhivyāharantīva prāsādapaṅktya� | kvacidudghāṭitagavākṣeṣu prāsādamegheṣu rathyāvalokanakutūhalā� śobhante pramadāvidyuta� kailāsaparvatāntargatā ivāpsarasa� | api ca, pravarahayagajarathagatā ٲٲٲ� paricalanta� śobhante mahāmātramukhyā� | taruṇajananayanamanoharaṇasamarthāścārulīlā� sthanavinyastabhūṣaṇāḥ suranagaravarayuvatiśriyamapahasantya� paricaranti preṣyayuvataya� | sarvajananayanabhramarairāpīyamānamukhakamalaśobhā rathyānuprahārthamiva pādapracāralīlāmanubhavanti gaṇikādārikā� | ki� bahunāsarvairvītabhayai� prahṛṣṭavadanairnityotsavavyāpṛtai� śrīmadratnavibhūṣaṇāṅgaracanai� sraggandhavastrojjvalai� | krīḍāsaukhya貹yaṇairviracitaprakhyātanānāguṇairbhūmi� pāṭaliputracārutilakā svargāyate sāmpratam ||

[6]:

sthane khalu kusumapurasyānanyanagarasadṛś� nagaramityaviśeṣagrāhiṇ� pṛthivyā� ٳ󾱳 īپ� | bahūni khalvasya purasya gṛhāṇyucchrāyavanti | paṇyasamudāyājjanabāhulyāśca tāṃstāṃśca samṛddhiviśeṣān ṛṣṭv vismayate ᲹԲ� | tatra ko ⲹ�? santi hyānyānyapi samṛddhimanti purāṇi | yetvasya niḥsādhāraṇ� guṇāstān vakṣyāma� | tathā hidātāra� ܱ� ܳ dākṣiṇyabhogyā� striyo nonmattā dhanino na matsarayutā vidyāvinītā Բ� | śiṣṭakathaḥparasparaguṇagrāhī kṛtajño ᲹԲ� śⲹ� bho nagare surairapi 徱� santyajya labdhu� sukham ||

[7]:

alamupālambhena | pattane vidyamāne'pi grāme ٲԲ貹īṣ� || (岵Ծٰ, 1)

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