Saturday, 14 November 2026

The Kama Sutra of Vatsyayana: A Critical Book Review

Book: The Kama Sutra of Vatsyayana
Original Author: Vatsyayana
Translators: Sir Richard F. Burton and F.F. Arbuthnot
First Publication: 1883
Impression: Nineteenth Jaico Impression 1996
Published by: Ashwin J. Shah, Jaico Publishing House
Page Count: 186 


1. Introduction

When someone mentions the Kama Sutra, the first thing that probably comes to mind is a book about sexual positions. It is one of the most widely recognized Indian literary works around the world, yet surprisingly few people know what it actually contains.

The Kama Sutra is much more than a manual of sexual techniques. It is an ancient treatise on love, desire, marriage, relationships, courtship and the social customs surrounding intimate life. It offers a glimpse into how a section of ancient Indian society understood sexuality, pleasure and human relationships.

However, reading an ancient work with modern mind can be interesting, sometimes uncomfortable experience. That was certainly my experience. While I could appreciate its historical significance, much of its advice seemed outdated, culturally distant and in some instances morally unacceptable.

2. About the Book

The Kama Sutra was written in Sanskrit by Vatsyayana, traditionally known as Mallanaga Vatsyayana. Its exact date of composition is uncertain, although scholars generally place it around the third century CE.

The English edition I read was translated by Sir Richard F. Burton and F.F. Arbuthnot and first published in 1883. It is worth remembering that this translation was produced in the Victorian era and has been criticized for inaccuracies and editorial intervention. Modern translations, including the one by Wendy Doniger and Sudhir kakar, offer alternative interpretation of the original text.

3. Overview and Central Themes

The Kama Sutra is divided into seven books and covers a surprisingly wide range of subjects. These include courtship, marriage, the duties of a wife, the behaviour of husbands, relationships with other men's wives, the lives of courtesans, sexual pleasure and various methods of attraction.

The book discusses Kama (pleasure and desire) as one of the important aims of human life, alongside Dharma (duty) and Artha (material prosperity).

It is also a social document. It provides insights into the customs, relationships and social hierarchy of the time. However, its perspective largely reflects the world of a particular social class rather than the experiences of everyone in ancient Indian society.

4. Critical Analysis

The most striking aspect of the book is the gap between its historical significance and its practical relevance today. Much of its advice is outdated, and some of its recommendations are difficult to accept even when viewed in their historical context.

For example, one passage describes a method of obtaining a woman by intoxicating her and having sexual intercourse with her before she regains consciousness. Such advice is deeply disturbing from the standpoint of consent and personal autonomy.

Another passage discusses how a powerful man, particularly a king, might obtain another man's wife through coercion, including imprisoning her husband or enslaving the woman. Although the text later cautions a king against such conduct, the fact that these methods are discussed as possible strategies is troubling.

The treatment of courtesans is equally questionable. The book advises them to on how to attract wealthy and influential men, extract as much money and material benefit as possible from them, and abandoned them once their wealth is exhausted. Such advice reduces human relationships to financial transactions and is difficult to defend on moral grounds.

The book's expectations of wives also reflect a strongly patriarchal society. A wife is advised to devote herself to her husband and follow his wishes. In cases where she cannot have children, she's even expected to suggest that her husband marry another woman. These ideas are far removed from contemporary understandings of equality and partnership.

Besides these issues, the book contains numerous detailed prescriptions, recipes and techniques. While these may be useful to historians or researchers studying ancient practices, they can make the reading tedious and confusing for an ordinary reader.

Despite these criticisms, I came across one observation that I found particularly interesting. The book suggests that a man's passion is intense but short-lived during his first sexual encounter, whereas a woman's passion may develop differently and become stronger in subsequent encounters. I would not treat this as a universal scientific truth about men and women. Nevertheless, I found the underlying idea of paying attention to a partner's experience worth reflecting on.

5. Writing Style and Presentation

The book is written more like a systematic treatise than a conventional book. It presents its ideas through classifications, instructions and detailed descriptions rather than through stories or examples.

The Burton translation uses Victorian era English, which may feel dated to modern readers. Some sections are straightforward, while others are unnecessarily elaborate and difficult to follow.

Readers interested in understanding the original work may find a modern translation more accessible and reliable.

6. Strengths and Limitations

The greatest strength of the Kama Sutra is its historical and cultural value. It offers an unusual insight into ancient Indian ideas about sexual pleasure, marriage and social relationships. It also recognizes sexual pleasure as an important aspect of human life rather than treating it solely as a means of reproduction.

However, its limitations are equally significant. Many of its recommendations are outdated, its treatment of women often reflects patriarchal values, and some of its advice is morally unacceptable by modern standards. The lengthy descriptions and questionable translation choices may also make the book difficult for general readers.

7. Who Should Read This Book?

The Kama Sutra may be worth reading for people interested in ancient Indian literature, history, sexuality, anthropology and the evolution of social customs. Researchers and students exploring gender relations and history of human relationships may also find it valuable.

However, anyone expecting a modern guide to love, intimacy or healthy relationships may be disappointed. It should be approached as a historical text, not as a practical guide to living.

8. Final Verdict

The Kama Sutra is undoubtedly an important work in the history of Indian literature. It deserves recognition for the subjects it explored and the attention it gave to human pleasure and relationships.

Nevertheless, its age and historical importance should not shield it from criticism. Some of its ideas are interesting, but others are outdated, patriarchal and morally disturbing. I found much of its practical advice irrelevant to contemporary life, although its historical insights remain valuable.

My overall view is that the Kama Sutra is worth reading to understand how people in a particular period viewed love, sexuality and relationships. But reading an ancient book does not mean accepting everything it teaches. We should be willing to appreciate its contributions while questioning ideas that no longer stand up to our moral and social understanding.


Rajendra Maharjan
Email: teacher.rajen@gmail.com
WhatsApp: 9851063104


Monday, 22 December 2025

The Subtle Art of Not Giving a Fuck by Mark Manson: A Book Review

Book: The Subtle Art of Not Giving a Fuck by Mark Manson
Page Count: 212
Publisher: HarperCollins Publishers
First Published Year: 2016

The Subtle Art of Not Giving a Fuck is written by Mark Manson, a superstar blogger known for his bold opinions and unconventional style. Unlike traditional motivational books that promote constant positivity, this book takes a more honest and realistic approach to life.


One of the most striking features of the book is its use of profane, unfiltered language mixed with humour. Mark Manson deliberately avoids polished or sugar-coated words. Instead, he uses raw language to connect with readers and to challenge commonly accepted ideas about happiness, success, and self-improvement.


Despite its shocking title, the book does not encourage people to be careless or irresponsible. Rather, it teaches readers to be selective about what they care about. According to Manson, we all have a limited amount of time, energy, and emotional capacity. Therefore, instead of trying to care about everything, we should “narrow down the things on which to give a fuck” and focus only on what truly matters in our lives.


The book also highlights how most people today live in constant “highs.” These highs may come in harmless-looking forms such as scrolling through mobile phones, reading, chatting online, or seeking constant entertainment. While these activities provide temporary pleasure, Manson argues that giving too many fucks to such distractions pulls us away from meaningful goals and values. He suggests that we should stop chasing every high and instead invest our attention in things that genuinely add value to our lives.


Overall, The Subtle Art of Not Giving a Fuck is a thought-provoking book that encourages readers to rethink their priorities. It teaches that a meaningful life is not about avoiding problems, but about choosing the right problems to care about. 

Tuesday, 20 May 2025

The 50-Buck Illusion: Our Choice of Appearance Over Reality

 

A photographer once hung a clever sign outside his studio:

  • For 20 bucks: A photo of you as you truly are.
  • For 30 bucks: A photo of you as you think you are
  • For 50 bucks: A photo of you as you want others to see you. 
Years later, in his memoir, he reflected: "In all my decades of work, not a single person ever asked for the 20-buck photo. Everyone wanted the 50-buck one."

That simple observation says a lot about us. Most of us don't want to see ourselves plainly; we want to be seen as society wants us to be seen. We crave admiration, not honesty. Ultimately, much of life is shaped by appearances: How we want to be seen, not necessarily who we are. It might cost us inconvenience or mental peace. If we accept ourselves honestly, as we are, we would be much lighter and happier.

Rajendra Maharjan
Email: teacher.rajen@gmail.com

Tuesday, 1 April 2025

Fool's Gold


SEE him there, cold and gray,

Watch him as he tries to play;

No, he does n't know the way.

He began to learn too late.

She's a grim old hag, is Fate,

For she let him have his pile,

Smiling to herself the while,

Knowing what the cost would be,

When he'd found the Golden Key.

Had the money hunger bad,

Mad for money, piggish mad.

Did n't let a joy divert him,

Did n't let a sorrow hurt him,

Let his friends and kin desert him,

While he planned and plugged and worried.

Nothing stopped him as he scurried,

On his quest for gold and power.

Every single wakeful hour,

With a money thought he'd dower.

All the while as he grew older,

And grew bolder, he grew colder.

And he thought that some day

He would take time to play,

But say—

He was wrong.

Life's a song.

In the spring

Youth can sing and can fling,

But joys wing,

When we're older,

Like birds when it's colder.

The roses were red as he went rushing by,

And cloud-woven tapestries hung in the sky,

And the clover was waving

'Neath honey bees slaving.

A bird over there

Rondelayed a soft air.

But the man could n't spare

Time for gathering flowers,

Or resting in bowers,

Or gazing at skies

That gladdened the eyes.

So he kept on and swept on

Through mean, sordid years.

Now he's up to his ears

In the choicest of stocks.

He owns endless blocks

Of houses and shops,

And the stream never stops

Pouring into his banks.

I suppose that he ranks

Pretty near to the top;

What I have won't sop

His ambition one tittle,

And yet with my little

I'm sure I'd not trade

With the bargain he made.

Just watch him to-day,

See him trying to play.

He's come back for spring skies,

But they're in a new guise.

Winter's here, all is gray.

The birds are away,

The meadows are brown,

The leaves lie aground,

And the gay brook that wound

With a swirling and whirling

Of waters is furling

Its bosom in ice.

And he has n't the price,

With all of his gold,

To buy what he sold;

He knows now the cost

Of the Springtime he lost,

Of the flowers he tossed

From his way,

And say

He'd pay

Any price if the day

Could be made not so gray—

He can't play.

By Herbert Kaufman