This book chronicles the story of love which is considered an Indian creation. The first love story of the world was found in the Rig Veda and the first comprehensive work on love was written in India with Kamasutra becoming one of its offshoots. Love techniques were perfected over centuries and sculpted on the walls of temples of Khajuraho and Konarak. Since ancient times, rishis in India have believed that it was love which came first and then followed the world. The origin and evolution of love in India is traced by the author in an elaborate manner, providing invaluable insights which make this book a rare treasury in itself. The book draws from concrete sources including cave paintings, ancient archaeological findings and a mass of literature belonging to the Vedic and Buddhist eras to give a complete portrayal of love. Through love lyrics, humorous plays and erotic descriptions, Love in Ancient India takes you through a timeless saga of royalty and grandeur, beauty and infidelity, all of which are interspersed with the concept of the world’s most bewitching expression - love.

An elegant translation of the Sattasaī (or Seven Hundred), India's earliest collection of lyric poetry, Poems on Life and Love in Ancient India deals with love in its many aspects. Mostly narrated by women, the poems reveal the world of local Indian village life sometime between the third and fifth centuries. The Sattasaī offers a more realistic counterpart to that notorious theoretical treatise on love the Kāmasūtra, which presents a cosmopolitan and calculating milieu. Translators Peter Khoroche and Herman Tieken introduce the main features of the work in its own language and time. For modern readers, these short, self-contained poems are a treat: the sentiments they depict remain affecting and contemporary while providing a window into a world long past.

India is not just a geography or history. It is not only a nation, a country, a mere piece of land. It is something more: it is a metaphor, poetry, something invisible but very tangible. It is vibrating with certain energy fields that no other country can claim. For almost ten thousand years, thousands of people have reached to the ultimate explosion of consciousness. Their vibration is still alive, their impact is in the very air; you just need a certain perceptivity, a certain capacity to receive the invisible that surrounds this strange land. It is strange because it has renounced everything for a single search, the search for the truth. In these pages, we are treated to a spellbinding vision of what Osho calls "the real India," the India that has given birth to enlightened mystics and master musicians, to the inspired poetry of the Upanishads and the breathtaking architecture of the Taj Mahal. We travel through the landscape of India's golden past with Alexander the Great and meet the strange people he met along the way. We are given a front-row seat in the proceedings of the legendary court of the Moghul Emperor Akbar, and an insider's view of the assemblies of Gautama the Buddha and his disciples. In the process, we discover just what it is about India that has made it a magnet for seekers for centuries, and the importance of India's unique contribution to our human search for truth.

This is the story of Madhavanala and Kamakandala. Madhav, a handsome and accomplished young man, is asked to leave his city of Pushpavati: his looks and singing so distract women that they neglect their work, and cityfolk create an uproar about it. Exiled, Madhav reaches the court of King Kama Sena, the ruler of Kamavati, where he meets the bewitching courtesan Kama. The two fall in love but royal ire ensures that the lovers part. A heartbroken Madhav takes shelter in a temple at Ujjain, the city of King Vikramaditya. What can the great ruler do to assuage Madhav’s pain? Can he reunite the lovers? This lively and colourful tale has startling metaphors, a candid narration of love and an ending that matches its evocative language. In circulation since the twelfth century AD, Madhav and Kama has been translated from the original Sanskrit text for readers in English for the first time.

"This admirably produced and well-translated volume of stories from the Sanskrit takes the Western reader into one of the Golden Ages of India. . . . The world in which the tales are set is one which placed a premium upon slickness and guile as aids to success. . . . Merchants, aristocrats, Brahmins, thieves and courtesans mingle with vampires, demi-gods and the hierarchy of heaven in a series of lively or passionate adventures. The sources of the individual stories are clearly indicated; the whole treatment is scholarly without being arid."—The Times Literary Supplement "Fourteen tales from India, newly translated with a terse and vibrant effectiveness. These tales will appeal to any reader who enjoys action, suspense, characterization, and suspension of disbelief in the supernatural."—The Personalist

Same-Sex Love in India presents a stunning array of writings on same-sex love from over 2000 years of Indian literature. Translated from more than a dozen languages and drawn from Hindu, Buddhist, Muslim, and modern fictional traditions, these writings testify to the presence of same-sex love in various forms since ancient times, without overt persecution. This collection defies both stereotypes of Indian culture and Foucault's definition of homosexuality as a nineteenth-century invention, uncovering instead complex discourses of Indian homosexuality, rich metaphorical traditions to represent it, and the use of names and terms as early as medieval times to distinguish same-sex from cross-sex love. An eminent group of scholars have translated these writings for the first time or have re-translated well-known texts to correctly make evident previously underplayed homoerotic content. Selections range from religious books, legal and erotic treatises, story cycles, medieval histories and biographies, modern novels, short stories, letters, memoirs, plays and poems. From the Rigveda to Vikram Seth, this anthology will become a staple in courses on gender and queer studies, Asian studies, and world literature.

'There are many missing pieces in the jigsaw puzzle that is ancient India, but those we have yield a rich tapestry.' The oldest surviving love graffiti on a cave wall immortalizing an intimate bond in the third century BCE; charred seeds and chewed animal bones that provide evidence of a peoples' food obsessions; architectural minutiae that point to the alarming regression of a civilization's potty habits; intriguing sculptures that reveal myriad facets of the human-animal relationship... In Time Pieces, award-winning historian Nayanjot Lahiri whimsically sifts through intricate clues left behind by the early inhabitants of the Indian subcontinent - in plaques and inscriptions, fragments of jewellery, bones and tools, poetry, art and pottery - to reveal to us our ancient land in all its variety, splendour, complexity and contradictions. Sparkling with wit and reflective of a scholar's keen and curious energy, this delightful volume seamlessly connects the past to the present and a civilization to the world beyond.

The Ananga Ranga (Stage of Love) or Kamaledhiplava (Boat in the Sea of Love) is an Indian sex manual written by Kalyana Malla in the 15th or 16th century AD. The poet wrote the work in honor of Lad Khan, son of Ahmed Khan Lodi. He was related to the Lodi dynasty, which from 1451 to 1526 ruled India. Later commentators have said it is aimed specifically at preventing the separation of a husband and wife. This work is often compared to the Kama Sutra, on which it draws. It was translated into English in the year 1885, under the editorship of Sir Richard Francis Burton . "Satisfaction and enjoyment comes for a man with possession of a beautiful woman. Men marry because of the peaceful gathering, love, and comfort and they often get nice and attractive women. But the men do not give the women full satisfaction The reason is due to the ignorance of the writings of the Kamashastra and the disdain of the different types of women. These men view women only from the perspective of an animal. They are foolish and spiritless". The work was intended to show that a woman is enough for a man. The book provides instructions in how a husband can promote the love for his wife through sexual pleasure. The husband can so greatly enjoy living with his wife, that it is as if he had lived with 32 different women. The increasingly varied sexual pleasures are able to produce harmony, thus preventing the married couple from getting tired of one another. In addition to the extensive catalogue of sexual positions for both partners, there are details regarding foreplay and lure.

Think Of The Erotic Literature From India And What Immediately Comes To Mind Is Vatsyayana S Kamasutra. This Was Indeed Not The First Study In Erotology Nor Was It The Last. Beginning With The Rig Veda (Written Some 5000 Years Ago) Right Up To The Seventeenth Century, Indian Literature Is Marked By Diverse Genres Replete With Unabashed Eroticism In Which Love, Lust And Life Are Explored To Their Fullest Extent& Today, The Philosophical Acceptance Of Desire And The Erotic Sentiment Has Been Asphyxiated By A Hypocritical Morality That Has Much For Too Long Equated Sex With Sin And Desire With Guilt. The Purpose Of This Anthology Is To Provide Enough Evidence Of An Alternative Vision, So That Readers Can Get A Glimpse Of The Sense Of Maturity And Honesty That Animated Our Ancestors. In This Comprehensive Anthology, The Authors Forcefully Drive Home The Point That The Fascination With Eroticism Is Age-Old. The Absence Of Inhibition And Guilt And The Candour And Boldness With Which Society Set About Seeking Its Pl Easures Find Expression Repeatedly In Writings Over The Past Ages. The Literature Of India, Both Religious And Secular, Is Full Of Sexual Allusions, Sexual Symbolisms And Passages Of Such Frank Eroticism The Likes Of Which Are Not To Be Found Elsewhere In World Literature. For Example, Some Sections Of Ancient Texts Like The Vedas, The Upanishads, The Epics (The Mahabharata And The Ramayana), The Brahmins, The Puranas And Devotional Hymns Like The Saundarya Lahiri (By Adi Shankaracharya) Are Studded With Graphic Sexual Imagery. The Sacred And The Sensuous Were Thus Seen As Integrated Elements Of Human Existence. In This Medieval Period, Writers, Poets, Dramatists, Painters, Sculptors And Artists, Whatever Be Their Language And Idiom, Gave Full Vent To Their Creative Talents, Suffused With The Sexual Metaphor. Kalidasa And Jayadev Stand Out As Exemplars Of This Genre. It Was Basically The Evangelical Fervor Of The Victorian Era That Imposed Severe Structures On The So-Called Heathen Amorous Degradation And Sought To Cleanse The Indian People By Propagating Western Morality And Values . And The Victorian Hangover Still Persists. The Underlying Themes Of This Volume Are That, In The India Tradition, The Relevance Of Desire, With Eroticism As Its Natural Attribute, Was Pragmatically Accepted And That Women Were Given Equal Status As Men In The Pursuit Of Pleasure.

In the literature of all countries there will be found a certain number of works treating especially of love. Everywhere the subject is dealt with differently, and from various points of view. In the present publication it is proposed to give a complete translation of what is considered the standard work on love in Sanscrit literature, and which is called the `Vatsyayana Kama Sutra', or Aphorisms on Love, by Vatsyayana. While the introduction will deal with the evidence concerning the date of the writing, and the commentaries written upon it, the chapters following the introduction will give a translation of the work itself. It is, however, advisable to furnish here a brief analysis of works of the same nature, prepared by authors who lived and wrote years after Vatsyayana had passed away, but who still considered him as the great authority, and always quoted him as the chief guide to Hindoo erotic literature.Besides the treatise of Vatsyayana the following works on the same subject are procurable in India:The Ratirahasya, or secrets of loveThe Panchasakya, or the five arrowsThe Smara Pradipa, or the light of loveThe Ratimanjari, or the garland of loveThe Rasmanjari, or the sprout of loveThe Anunga Runga, or the stage of love also called Kamaledhiplava, or a boat in the ocean of love. The author of the `Secrets of Love' was a poet named Kukkoka. He composedhis work to please one Venudutta, who was perhaps a king. When writing his own name at the end of each chapter he calls himself `Siddha patiya pandita', i.e. an ingenious man among learned men. The work was translated into Hindi years ago, and in this the author's name was written as Koka. And as the samename crept into all the translations into other languages in India, the book became generally known, and the subject was popularly called Koka Shastra, or doctrines of Koka, which is identical with the Kama Shastra, or doctrines of love, and the words Koka Shastra and Kama Shastra are used indiscriminately.The work contains nearly eight hundred verses, and is divided into ten chapters, which are called Pachivedas. Some of the things treated of in this work are not to be found in the Vatsyayana, such as the four classes of women,the Padmini, Chitrini, Shankini and Hastini, as also the enumeration of the days and hours on which the women of the different classes become subject to love, The author adds that he wrote these things from the opinions of Gonikaputra and Nandikeshwara, both of whom are mentioned by Vatsyayana, but their works are not now extant. It is difficult to give any approximate idea as to the year in which the work was composed. It is only to be presumed that it was written after that of Vatsyayana, and previous to the other works on thissubject that are still extant. Vatsyayana gives the names of ten authors on the subject, all of whose works he had consulted, but none of which are extant, and does not mention this one. This would tend to show that Kukkoka wrote afterVatsya, otherwise Vatsya would assuredly have mentioned him as an author in this branch of literature along with the others.