APPENDIX TO the CHAPITRE II

N 1. - List talents required ( demanded ? ) from a man according to Lalita-Vistara.

Such is the official list of sixty four liberal arts that every eminent person in the brahmanique civilization had to possess. They are mentioned in many religious books of India, as compulsory for the big, the Gurus and for all the scholars, notably the Brahmanes of distinction. That is why we had to reproduce the list, a little bit boring because of its length, but certainly interesting as historic document.

Lalita-Vistara gives, on the occasion of the tests and the exams undergone by Bouddha-Gautama, to marry beautiful Gopa, a similar but not identical list.

By gathering ( reuniting ? ) these two lists, we have a complete naming of all the arts and the professions by this time; each of them was the object of special treaties.

Useless to add that nobody possessed seriously all these knowledge, although they were considered as compulsory.

List according to Mr Foucault's translation.

The jump, the science of the writing, the seals, the calculation, the arithmetic, the fight, the bow, the journey ( running ? ), the swimming, the art to throw ( launch ? ) arrows, to lead ( drive ? ) an elephant by rising on the neck, the equitation, the art to lead ( drive ? ) tanks; the firmness, the force, the courage, the effort of arms in the behaviour ( canal ? ) of the elephant with the hook, with the link; in the action to get up, to go out, come down ( fall ? ); in ligature of fists, feet, locks; in the action to cut, to split, to cross, to shake, to drill what is not begun ( affected ? ), to drill the joint, to drill what resounds, in the action to knock strongly.

The skill in the game ( set ? ) of dices, in the poetry, the grammar, the composition of books ( pounds ? ), the painting, the drama, the dramatic action, the attentive reading, the interview ( maintenance ? ) of the sacred fire, the art to play Vinâ, instrumental music, dance, song, reading, declamation, writing, joke, union of the dance and the music, the theatrical dance, the mime, the arrangement of festoons, in the action to refresh with the range, in the paint of precious stones, the paint of clothes, in the work of the magic, the explanation of the dreams, that of the language of birds; the art to know the signs of the women, the signs of the elephants, the horses, the bulls, the goats ( tackles ? ), the rams, the dogs.

The composition of vocabularies, holy writing, Pouranas, Ilihâsas, Véda, grammar, Niroukta, art to pronounce the poetry, the rites of the sacrifice.

In the astronomy, the yoga, the religious ceremonies, the method of Vaïcéchikas, the knowledge of the wealth, the morality, private tutor's state, the Asoura state, the language of birds and animals.

The science of the causes, the classification of nets, the wax works, the sewing, the chasing, the notch of sheets ( leaves ? ), mixture of the flavors. In these arts and all those who are practised in this world, the Buddha excelled.

N 2 - Four classes of women, qualities which are appropriate ( clean ? ) for them.

We can consider as returning, better than the liberal arts, into the subject treated ( handled ? ) by Vatsyayana, the description of the qualities which distinguish the women between them.

Generally, the Indian authors divide the women into four classes according to their physical and moral characters.

The perfect type is Padmini, or woman Lotus; it is sort of advantages only we attribute ( award ? ) him ( her ? ). In here is the summary.

She ( It ? ) is beautiful as a button of Lotus, as Rathi ( the sensual delight). His ( her;its ? ) slim size contrasts fortunately with the amplitude of the sides; she ( it ? ) has the port ( bearing ? ) of the swan, she ( it ? ) walks ( works ? ) slowly and with grace ( favour ? ).

His ( Her;Its ? ) supple ( flexible ? ) and elegant body has the flavor of the sandal; he ( it ? ) is naturally right ( straight ? ) and hurt as the tree of Ciricha, polishes as the stalk of Mirobolam.

The smooth, soft skin, is sweet in the touch as the trunk of a young elephant. She ( it ? ) has the colour of the gold and she ( it ? ) glistens as the flash of lighting.

His ( Her;Its ? ) voice ( vote ? ) is the song of male Kokila captivating its female; his ( her;its ? ) word is of the ambroisie.

His ( Her;Its ? ) sweat has the smell of the musk. She ( it ? ) exhales naturally more flavors than any other woman; the bee follows her ( it ? ) as a flower in the sweet flavor of honey.

His ( Her;Its ? ) silky, long and curly, nice-smelling hair by themselves, black as bees, frame ( supervise ? ) charmingly the face similar to the disc of the full moon and fall again twists of jet on the rich shoulders there.

The forehead ( front ? ) is pure: his ( her;its ? ) well curved eyebrows are two croissants; slightly shaken by the emotion, they take him ( it ? ) on the bow of Kama.

The well split eyes are brilliant, sweet and shy as those of the gazelle and the red in corners ( places ? ). However black at night in the heart of their orbits, their pupils glisten as stars in a dark sky. His ( her;its ? ) long and silky lashes give to its glance a sweetness which fascinates.

His ( Her;Its ? ) nose similar to the button of the sezame is right ( straight ? ), then becomes round as a beak of parrot.

His ( Her;Its ? ) sensual lips are pink as a button of flower which blooms or red as fruits of the bimba and the coral.

His ( Her;Its ? ) white teeth as the jasmine of Arabia have the polite brightness of the ivory; when she ( it ? ) smiles, they show themselves as a rosary of pearls gone ( taken ? ) up on coral.

The round and polite neck looks like a tower of pure gold. The shoulders join it by fine ties, as well as in the well modelled arms, similar to the stalk of the mango and which end by two similar delicate hands each in a twig of the tree Açoka.

His ( Her;Its ? ) ample and firm bosoms look like fruits of Vilva; they raise themselves ( draw up themselves ? ) as two golden cups ( cuttings ? ) opposite and surmounted by the button of the flower of the pomegranate tree.

His ( Her;Its ? ) well bent loins have the flexibility of the snake; they base themselves ( themselves ? ) harmoniously with the buttocks and his ( her;its ? ) wide hips which look like the blouse of the green dove.

Sonjadgana, pure and delicately rounded off, let perceive a navel deep and gleaming as a bay ( berry ? ) walls up. Three graceful folds blame in his ( her;its ? ) size as a belt over its hips.

The buttocks are magnificent; it is Nitambini (Callipige, Sakountala was Nitambini).

As the Lotus spread in the shade of a soft clod of herb Kusha (sacred herb par excellence), its small yoni opens mysteriously under the pubis shaded by a wide hairy veil of six thumbs.

His ( Her;Its ? ) semen of love is perfumed as the lily which has just hatched, the round, firm, plump thighs, look like the polite stalk of a young banana tree.

His ( Her;Its ? ) small and good-looking feet join finely his ( her;its ? ) legs, we would say two Lotuses.

When she ( it ? ) bathes in a sacred pond, by any sorts of games she ( it ? ) wakes the love, the gods would become confused to see her ( it ? ) deceiving in the water.

Pearls tremble in his ( her;its ? ) ears; on his ( her;its ? ) breast rest ( base ? ) a necklace of precious stones; she ( it ? ) has, but in small number, ornaments in arms and at the foot of legs.

She likes the white clothes, the white flowers, the beautiful jewels and the rich suits. She ( it ? ) carries ( wears ? ) a triple garment of lined ( crossed off ? ) muslin.

Delicate as the sheet ( leaf ? ) of the béthel, she likes food sweet, pure, light; she ( it ? ) eats little and sleeps of a light sleep.

She ( It ? ) knows well thirty two musical modes of Radha; however the mistress of Krishna, her sings harmoniously by coming along with the vina whom she ( it ? ) gets ( touches ? ) with grace ( favour ? ) of the disentangled and agile fingers.

When she ( it ? ) dances, the arms in the supple ( flexible ? ) and harmonious movements become round in graceful curves and sometimes seem to want to steal from the glances his ( her;its ? ) magnificent charms, because his ( her;its ? ) chastity is extreme (in I' Inde a woman always dances only).

She ( It ? ) has a pleasant conversation, her ( its ? ) smile spreads the bliss; she ( it ? ) is roguish, exuberant and full of cheerfulness in the pleasures.

She ( It ? ) excels at the works which are appropriate ( clean ? ) for him ( her ? ).

She ( It ? ) avoids ( flees ? ) the company ( society ? ) of dishonest people and scrupulously carries out the duty; the lie is unknown him ( her ? ).

Presently, she worships and likes brahmanes, her father and the gods; she ( it ? ) looks for the company ( society ? ) and the conversation of brahmanes; she ( it ? ) is liberal to them and charitable to the poor men. For these she ( it ? ) would exhaust the treasure of her husband.

She ( It ? ) likes with her husband and knows how to incite her ( its ? ) desires by caresses.

The god of love would find a magnificent pleasure to rest ( base ? ) near her.

His ( Her;Its ? ) disorder ( affection ? ) for her husband is extreme and she will be afraid no the other one the same tenderness. She ( it ? ) is affectionate in all her ( its ? ) words and absolutely devoted to her husband. She ( it ? ) is completely completed.

Add to this portrait already so flattering a crowd of exclamations which poëtes pushes in honour of Padmini.

Treasury of love! Unlimited tenderness! Woman who likes ( loves ? ) and who tries ( feels ? ) no desire! Woman whose happiness is obvious; woman similar to Rathi ( the sensual delight), marries Ananya some love), who bend over the weight of your firm bosoms and round off! Woman with whom the love makes drunk!

After Padmini, comes Chitrini or skillful woman.

Chitrini has the mobile spirit, the light and essentially exuberant humor! His ( her;its ? ) eye looks like the Lotus, its throat ( breast ? ) is firm: his ( her;its ? ) hair braided in a single mat fall again on the rich shoulders as from blacks snakes; his ( her;its ? ) voice ( vote ? ) has the sweetness of the ambroisie; his ( her;its ? ) hips are thin, the sweet and polished thighs have the curvature of the stalk of the banana tree; his ( her;its ? ) step ( method ? ) is that of an elephant in gaiety; she likes the pleasure, knows how to create him ( it ? ) and vary him ( it ? ).

Hastini (name of the female of the elephant) occupies the third row ( rank ? ).

Hastini has plentiful one hair which shines and takes place in long silky buckles, his ( her;its ? ) glance would disturb the god of love and would make redden bergeronnettes. The body of this graceful woman looks like a golden liana, its drop earrings are furnished with precious stones and his ( her;its ? ) clothes are loaded with flowers. His ( her;its ? ) firm and plump bosoms look like a couple of golden vases ( muds ? ).

The last type is Sankhini ( the sow).

His ( Her;Its ? ) hair are braided and rolled on the head; his ( her;its ? ) face which expresses the passion is deformed; his ( her;its ? ) body looks like that of the pig. We would say it always angry, always she ( it ? ) mutters and growls out ( grumbles ? ).

Its bosoms and the stomach exhale the smell of the fish.

She is unclean of her person; she ( it ? ) eats of everything and sleeps in the excess. The mat eyes are always rheumy.

We put on the opposite page the distinctive lines ( features ? ) of four classes in the following picture ( table ? ):

----------------------------------------------------------------------NAME ¦ Padmini ¦ Chitrini ¦ Hastini ¦ Sankhini ¦ ¦ ¦ ¦ FIGURE ¦ As ¦ Perfect ¦ Of lotus ¦ Of goose ¦ The moon ¦ ¦ ¦ ¦ ¦ ¦ ¦ SMELL ¦ Of the lotus ¦ Flowers ¦ Some wine ¦ Some fish ¦ ¦ ¦ ¦ HAIR ¦ Liqueur brandy and ¦ Long and ¦ Buckling ( curling ? ) ¦ As one ¦ Silky ¦ Floating ¦ Naturally ¦ Silks of ¦ ¦ ¦ ¦ Wild boar ¦ ¦ ¦ ¦ VOICE ( VOTE ? ) ¦ Harmonious ¦ Of the kokila ¦ Bramement of ¦ Cawing ¦ As one ¦ ¦ The elephant ¦ Of the crow ¦ Lute ¦ ¦ ¦ ¦ ¦ ¦ ¦ TASTE ¦ The béthel ¦ The gifts ( donations ? ) ¦ The pleasures ¦ The DOMINATING quarrels ¦ ¦ ¦ Varied ¦----------------------------------------------------------------------

Four sorts of men ( people ? ) correspond as lovers or husband ( couple ? ) to these four sorts of women.

In Padmini, man _lièvre _, that is active, lively and awake ( sharp ? ).

In Chitrini, man _cerf _, the one who looks for the disorder ( affection ? ) in the loving business.

In Hastini, man _taureau _, that is which has the force and the temperament of this animal.

In Sankhini, man _cheval _, the one who has the vigour and the ardour of the standard.

He ( It ? ) exists, says poëtes, Padmini on ten million women, Chitrini on ten thousand, Hastini on one thousand; Sankhini is everywhere.

This proportion is not flattering for the beautiful sex in India; fortunately, she ( it ? ) is not exact. Generally the Hindus, the men and women, even in the slavish castes, have very big care of neatness. The unclean woman, the Sankhini, is only in the tiny class and except caste, and to Pariahs of campaigns.

 

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