Sense and Sensuality in Indian Religious Literature

A particular metrical composition, Nurse 1126&8243 taken from Sanskrit Poetry From Fiduciarys Treasury, emphasizes the lustful emotions and quixotic experiences that accompany the due south winds as well as the significance of a reticular feel object that holds an extremely valuable focalise in Indian religious enculturation sandalwood. The strange inclusion of the awareness of life and the sentiency object of sandalwood in this poem, which deals near exclusively with the understanding of stir, raises a variety of questions pertaining to the significance of this inclusion and the relationship between the senses of arrive at and reek as well as the senses in general.Meanwhile, upon examination of the Kamala sutra the sense of tonus and the nuzzles of objects comes into play in a con school text of Indian literature associated not with esthetics poetry exactly with a much more than practiced and instructive guidebook. In this case, the sense of olfaction is used t o convey not simply emotion but allows the reader to make a full range of realiseences about characters, the text, and the values of the time period. eventually, despite stemming from the same sense of face, the usage of this sense can differ widely between polar genres of texts and even within a single genre conveying a multitude of emotions, facts that, though plainly follow a trend, atomic number 18 in fact uncommon to the text. The aforementi atomic number 53d poem from Sanskrit Poetry From Fiduciarys Treasury expresses romantic and dismal undertones through metaphors and the establishment of a particular mood or Rasa. This undefiled poem uses a complex and extended metaphor that draws upon the movement and qualities of the south winds to represent a seemingly mysterious and well-traveled buffer.The winds are personified as having associated with and wooed a variety of women from regions such as Andorra, Tamil, Ceylon, and Kraal. This metaphor capitalizes upon the ethe real, fast-moving, lovely, caressing, and aromatic character of standard atmosphere and the south breeze and applies it to the poems apparent description of a ascribable lover. This poem furthermore utilises cardinal specific moods or Rasa, which are emotional flavors that one tastes or feels upon experiencing the words of the writer. The dickens Rasa used in the poem are sedateness and accost.The poem establishes a peaceful mood both by using a repetitive sentence structure which has a seemingly calming effect on the reader as well as by using light and airy words such as tousled, kissed, and perfumed that give the poem a quaint and courteous feel. The poem also gives of a notion of erotic excitement by the description of the erotic actions of the breeze and its apparent metaphor for a propensityd lover. The breeze has apparently touched the breasts, hairnets, mouths, and cheeks of women from a variety of regions in India indicating the drawing card of this lover and th e great deal of experience and ability he has with women.The two Rasa, peacefulness and romantic excitement, appear to complement each other and arrest about a ridiculous experience within the reader. Rather than feeling solely lustfulness that would usually be felt in poems that utilize only erotic excitement, the element of peacefulness evokes feelings of love in direct contrast with lust. Because of the peaceful Rasa, the reader perceives the well-traveled lover not as a womanlier but as a well-offman who truly loves and brings happiness to the women he meets. Upon edition the poem, one inevitably comes to the question of why is that last line include in this poem? At first glance, it certainly appears that the line light the south winds blow, perfumed with sandalwood does not fit with the rest of the poem that emphasizes the breezes touch upon the breasts, hair, and bodies of women. Furthermore, what exactly is the impressiveness and significance of the particular sense a bject sandalwood that its scent was noted in the poem? Ultimately the inclusion of the sense of smell and the specific sense object, sandalwood, in the poem gives additional depth to the two Rasa expressed within the poem. Smell is often used in Indian literature to express erotic desire and passionate lust.For example, the lingering and distinctive scent of a long-gone lover brings about both lustful and plaintive emotion as one realizes that he or she has helpless their love. aroma that scent would undoubtedly bring about happy and painful memories of that lost love. The inclusion of sandalwood then similarly affects the peaceful Rasa evoked by the gentle and repetitive nature of this poem. Sandalwood is conventionally used in Indian literature as a valuable scent known for its cooling, relaxing, and calming properties as well as for its relationship to love.Conventional Sanskrit poetry and literature often indicates that sandalwood grows in Southern India and is carried by so uth breezes northward, bringing love as it travels toward its Federal mistress. Thus the aroma of the south breeze plays a pivotal reference in both characterizing the advertorial lost-lover and establishing the two central Rasa used within the poem. though not the central sense used within the poem, that honor on the face of it goes to touch, by including the sense of smell in the last line of the poem, the writer adds a great deal of depth in the poem that could not pay off been created solely through a description of touch.One could not fool touched the bodies of the women that the south breeze has touched but one could have smelled the scent of the sandalwood that accompanies the breeze and felt the emotions brought about by it. Ultimately he sense of smell drives the poem drives poem forward by promoting the mysterious, lustful, and peaceful mood of the poem and by applying emotions that are associated with the smell of a lover to the metaphorical lover described within th e poem. The Kamala Sutra, however, is a type of text that contrasts starkly with the flowing, soothing aesthetics of Indian poetry.Gone are the descriptions of soft cause to be perceived winds slowly caressing the bodies of young, beautiful lovers in their place are descriptions of sugared oils belonging to women of the harem, the scent of lust ND erotic desire and act, the proper scent of desirable men and women, and the scent of mans worn-out clothing. In this text, good or desirable scents and the corresponding sense object whitethorn correspond to wealth and power as the harem girls are tell to have been given gifts of scented oils from kings and men of wealthy descent in return for bodily pleasures and favors.These gifts are described as leftovers of a deity indicating the importance and value placed upon scents due to the powerful emotional attachment and warehousing stimulation that can be drawn from this sense. Looking at the nature of the text, one can glean other char acteristics of this sense the Kamala Sutra is a guide-like manual on navigating the world of eroticism, sex, and romance. The sense of smell is present on nearly ein truth page during descriptions of the smell of various objects, familiar and nonsexual. Thus, smell is preferably clearly related to erotic sexual desire, even in sublime books of instruction.When reading through the Kamala Sutra it is seemingly impossible to come across an report card of a sexual encounter without some description of ones scent or the scent of scarred clothing, sexual tension, and erotic desire, and ones breathing sex and smell practically go hand in hand in this text. Ultimately this text reflects the Indian cultures view on the sense of smell it has the gentle caress to stir love and romance, it has the sudden spark to kindle hot, erotic, sexual desire, and it has the power to create perceptions of grandeur, wealth, and power.While the two cited texts, poetry from Sanskrit Poetry From Fiduciar ys Treasury and the instructive Kamala Sutra, may seem to use the sense of smell in a very similar manner, their ascriptions and usage of the sense is in fact quite unique. The referenced Indian poem uses the sweet and desirable scent of sandalwood to convey emotions of romance and desire in order to add depth and aestheticism to the poem.Meanwhile, the Kamala Sutra uses the sense not to draw out emotion in the reader, as the text is more of consecrate and instructive manual, but to give the reader the ability to infer characteristics of the their own lives or the lives of others, whether it be romance, erotic desire, or wealth and power. The deflexion lies in the desired outcome in the deader after using the sense of smell as a tool to convey information or emotion. The ability of this sense to convey a multitude of outcomes in readers represents the many-sided nature of smell.Unlike other senses which are relatively cover the sense of touch is constant based on the object on e is touching, the sense of luck is constant based on the object one is viewing the sense of smell is much more fluid and up to the interpretation of the subject. Because of this unique characteristic of the sense of smell, it allowed writers of Indian literature the ability to use the sense f smell to relate multiple emotions and inferences to the reader, with each being unique to the reader and unique in and of itself.While in contemporary American culture and literature, the sense of smell takes a back seat to the more concrete and reliable senses such as sight and touch, this is not so in Indian culture. Smell is used in all texts poetry, instructive manuals, sacred texts liberally due to its unique ability to convey multiple emotions and facts. ground on the two referenced works, smell occupies a sacred place in Indian literature and could seemingly be considered he metrical foot of love, sexual desire, and wealth and power as seen in the role it plays in this cultures li terature.