Kama Sutra – Ancient Oral Sexual Methods Of The Kama Sutra

Vatsyayana was a wise man who recognized the sometimes necessary desire for discretion. He knew very well that a sudden outbreak of unexpected pregnancies in the kings harem or of another fellows wife might have some rather serious consequences but as the saying goes “It is better to be a live dog than a dead lion,” and sometimes temptation is just a bit too much.

As the Kama Sutra stated of these clandestine sexual relationships, “No place is as poorly guarded as a harem. And no women more accessible than the king’s wives. A determined young man only has to choose how to achieve his ends.

Hidden inside a barrel or disguised as a maidservant,  kamagranextday  he will easily deceive the casual sentinels and the overworked stewards. He can also try to make himself invisible by using an appropriate potion. But the result is uncertain. The king’s wives like to play games with strangers that are forbidden with their husband. The young man and the noble lady are lying against each other, head to tail.

He explores her yoni while her pretty mouth gobbles up his lingam greedily. It is Kalila the crow, the posture of slaves and maidservants, that queens are so fond of.” Vatsyayana went on to describe the steps and variations of oral sex in hopes that his pupils might live to enjoy another day.

The Method Of Fellatio In The Kama Sutra

The Kama Sutra describes the act of fellatio in great detail, breaking it down into individual steps. It is described in the following quotes.

“When your lover catches your lingam in her hand and, shaping her lips to an ‘O’, lays them lightly to its tip, moving her head in tiny circles, this first step is called Nimitta.” Nimitta is translated as Touching.

“Next, grasping its head in her hand, she clamps her lips tightly about the shaft, first on one side then the other, taking great care that her teeth don’t hurt you. This is Parshvatoddashta.” This is called Biting at the Sides.

“Now she takes the head of your lingam gently between her lips, by turns pressing, kissing it tenderly and pulling at its soft skin. This is Bahiha-samdansha.” This is called the Outer Pincers.

“If next she allows the head to slide completely into her mouth and presses the shaft firmly between her lips, holding a moment before pulling away, it is Antaha-samdansha.” This is translated as the Inner Pincers.

“When she senses that your orgasm is imminent she swallows up the whole lingam, sucking and working upon it with lips and tongue until you spend, this is Sangara.” Sangara literally means Swallowed Whole.

The Method Of Cunnilingus In The Kama Sutra

Of course one good turn always deserves another, and this was no less true in Ancient Hindu culture. Thus Vatsyayana’s Kama Sutra went on to describe the reciprocal act of cunnilingus for the man who wanted to return the favor.

“With delicate fingertips, pinch the arched lips of her house of love very very slowly together, and kiss them as though you kissed her lower lip; this is Adhara-sphuritam.” This is rendered the Quivering Kiss.

“Now spread, indeed cleave asunder, that archway with your nose and let your tongue gently probe her yoni, with your nose, lips and chin slowly circling. It becomes Jihva-bhramanaka.” Also called the Circling Tongue.

“Let your tongue rest for a moment in the archway to the flower-bowed Lord’s temple before entering to worship vigorously, causing her seed to flow. This is Jihva-mardita” or the Tongue Massage.

“Next, fasten your lips to hers and take deep kisses from this lovely one, your beloved, nibbling at her and sucking hard at her clitoris; this is called Chushita.” This Chushita is translated as Sucked.

“Place your darling on a couch, set her feet to your shoulders, clasp her waist, suck hard and let your tongue stir her overflowing love-temple. This is called Bahuchushita” or Sucked Hard.

“If the pair of you lie side by side, facing opposite ways, and kiss each other’s secret parts using the ten techniques described above, it is known as Kalila.” Kalila means the Crow.

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