Though this chapter is titled as a describer of intercourse, there is not anything coarse and shabby discourses which present strong sex.
21. Vis`ramya vis`ramya vanee drumaan`aam
Chaayaasu tanvii vicacaara kaacit
Nivaarayantii s`as`inoo mayuukhaan.
Here, the poet is describing the condition of a lass who is suffering from separation from her lover. Her body is emaciated. She goes to woods to cool herself, but suffers from the urges provoked by the moonlight. (In Indian ancient works, the poets used moonlight as a tool of poetry. They represented it a as a tormentor of separated lovers arousing passions and aggravating the pangs of longing for union.). Unable to bear her separation, she is trying to protect her breasts from the moonlight by covering them with the edges of her saree. The poet depicted her, while she was moving under the shades of trees.
22. Aadars`anee dars`ana maatra kaamaa,
drisht`vaa parishvanga sukhaika loolaa,
Aas`aa smahee vigrahayoor abheedam.
The poet discusses the stages of states of thinking of a lover. Stage 1: Till the beloved is seen, he will declare himself to be fortunate if he could have her vision. Stage 2: Once he sees her, he desires to embrace her. Stage 3: Once he embraces her, he desires that he should not part with her embrace.
23. Maalatii s`irasi jrimbhan`oonmukhii
Candanam vapushi kumkumaanilam
Vakshasi priyatamaa madaalasaa
Svarga eesha paris`isht`a agataha.
Here, the poet is the describing the fortune of the man who wears in his hair a garland of fresh bloomed jasmin flowers, applies a paste of saffron and sandalwood all over his body and embraces his beloved. The poet describes such person as experiencing the blissful pleasures of heaven on this Earth itself.
24. Praang maameeti manaaganaagata (amaanita gun`am) rasam,
Savriid`am, tadanu s`lathiikrita tanu (s`lathoodyama matha),
Pratyasta dhairyam punaha,
Preemaardram s`ruhan`iiya nirbharaha
kriid`aa pragalbham, tatoo
Niss`ankaanga vikarshan`aadhika sukham
Ramyam kulastrii ratam.
The poet is describing the joys of intercourse with one’s own wife. In the first line he describes the stage 1 of the wife, who says ‘No, don’t, don’t!’ initially, and changes her stance, when desire is born in her.
In stage 2, her body language changes to indicate a sort of modesty. In stage 3, she forgets her own state and body. She stops resisting. She sheds resistive courage. Then she gets herself imbued with love and reciprocates.
In stage 4, she develops greater self-confidence, self-assertive by the elegant enjoying experience of active participation in the intercourse.
In stage 5, she sheds all inhibitions and totally engages in the act, enjoying from the foreplay and the actual play.
(Note: I am unable to do justice for the translation of this verse. I shall try on this task again, mobilising more accurate diction and syntax.)
25. Urasi nipatiinaam,
Upari surata kheeda
svinnna gand`a sthalaan aam
Aadhara madhu vadhuun aam,
bhaagya vantaha pibati.
The poet describes the fortune of those who imbibe/suck the nectar from the lips of their beloveds resting on their chests with scattered hair and half-closed eyes in ecstasy, with forehead and cheeks filled with sweat drops arising from intercourse-born fatigue.