Note 111 — CONTINUATION OF THE TALE OF KING OMAR BIN AL-NU'UMAN AND HIS SONS SHARRKAN AND ZAU AL-MAKAN. (continued 3)

Arab. "Majlis" = sitting. The postures of coition, ethnologically curious and interesting, are subjects so extensive that they require a volume rather than a note. Full information can be found in the Ananga-ranga, or Stage of the Bodiless One, a treatise in Sanskrit verse vulgarly known as Koka Pandit from the supposed author, a Wazir of the great Rajah Bhoj or, according to others, of the Maharajah of Kanoj. Under the title Lizzat al-Nisá (The Pleasures—or enjoying—of Women) it has been translated into all the languages of the Moslem East, from Hindustani to Arabic. It divides postures into five great divisions: (1) the woman lying supine, of which there are eleven subdivisions; (2) lying on her side, right or left, with three varieties; (3) sitting, which has ten; (4) standing, with three subdivisions, and (5) lying prone, with two. This total of twenty-nine, with three forms of "Purusháyit," when the man lies supine (see the Abbot in Boccaccio i. 4), becomes thirty-two, approaching the French quarante façons. The Upavishta, majlis, or sitting postures, when one or both "sit at squat" somewhat like birds, appear utterly impossible to Europeans who lack the pliability of the Eastern's limbs. Their object in congress is to avoid tension of the muscles which would shorten the period of enjoyment. In the text the woman lies supine and the man sits at squat between her legs: it is a favourite from Marocco to China. A literal translation of the Ananga-ranga appeared in 1873 under the name of Káma-Shástra; or the Hindoo Art of Love (Ars Amoris Indica); but of this only six copies were printed. It was re-issued (printed but not published) in 1885. The curious in such matters will consult the Index Librorum Prohibitorum (London, privately printed, 1879) by Pisanus Fraxi (H. S. Ashbee).