Sense and Sensuality in Indian Religious Literature

A particular song, Nurse 1126 taken from Sanskrit Poetry From Fiduciarys Treasury, emphasizes the lustful emotions and sentimentalist experiences that accompany the in the south winds as well as the significance of a reticular tactile property out object that holds an extremely valuable wander in Indian religious culture sandalwood. The strange inclusion of the spirit of whole t wholeness and the signified object of sandalwood in this poem, which deals close exclusively with the sense of interest, raises a variety of questions pertaining to the significance of this inclusion and the relationship between the senses of pretend and sniff out as well as the senses in general.Meanwhile, upon examination of the Kamala sutra the sense of sniff out and the feelings of objects comes into play in a con text edition of Indian literary works associated non with esthetics poetry more(prenominal)over with a much more skillful and instructive guidebook. In this case, the sense of feel is used to convey non simply emotion but allows the reader to make a extensive range of recoupences about characters, the text, and the values of the time period. ultimately, despite stemming from the same sense of smell, the usage of this sense can differ widely between different genres of texts and even within a single genre conveying a multitude of emotions, facts that, though seemingly follow a trend, be in fact unparalleled to the text. The aforementioned poem from Sanskrit Poetry From Fiduciarys Treasury expresses romantic and mystifying undertones through metaphors and the establishment of a particular mood or Rasa. This ideal 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 lover.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 ethereal, fast-moving, lenify, caressing, and aromatic temperament of circularize and the south breeze and applies it to the poems apparent description of a ascribable lover. This poem furthermore applys cardinal specific moods or Rasa, which are emotional flavors that one tastes or feels upon experiencing the words of the writer. The cardinal Rasa used in the poem are calmness and court.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 straight-laced feel. The poem also gives of a touch of erotic excitement by the description of the erotic actions of the breeze and its apparent metaphor for a needd lover. The breeze has apparently touched the breasts, hairnets, mouths, and cheeks of women from a variety of regions in India indicating the magnet of this lover and the great deal of experience and ability he has with women.The two Rasa, peacefulness and romantic excitement, appear to complement each other and tot about a laughable 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 line of reasoning with lust. Because of the peaceful Rasa, the reader perceives the well-traveled lover not as a womanlier but as a patch upman who truly loves and brings happiness to the women he meets. Upon cultivation 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 quietly 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 immenseness and significance of the particular sense abject sanda lwood 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 typical scent of a long-gone lover brings about both lustful and touching emotion as one realizes that he or she has lost their love. comprehend 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 south breezes nor thward, bringing love as it travels toward its blue mistress. Thus the aroma of the south breeze plays a pivotal function 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 simply 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 control been created solely through a description of touch.One could not fetch 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 the poem. The Kamala Sutra, how ever, is a type of text that contrasts starkly with the flowing, soothing aesthetics of Indian poetry.Gone are the descriptions of soft perfumed winds slowly caressing the bodies of young, beautiful lovers in their place are descriptions of gratifying 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 may correspond to wealth and power as the harem girls are state 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 storage stimulation that can be drawn from this sense. Looking at the nature of the text, one can glean other characteristics of this sense the Kamala Sutra is a g uide-like manual(a) on navigating the world of eroticism, sex, and romance. The sense of smell is present on nearly e really page during descriptions of the smell of various objects, knowledgeable and nonsexual. Thus, smell is sort of clearly related to erotic sexual desire, even in numinous books of instruction.When reading through the Kamala Sutra it is seemingly impossible to come across an floor 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 Fiduciarys Treasury and the instructive Kamala Sutra, may s eem to use the sense of smell in a very similar manner, their ascriptions and usage of the sense is in fact quite unique. The compose 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 heavenly 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 digression 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 motley nature of smell.Unlike other senses which are relatively cover the sense of touch is constant based on the object one is touching, the sense of sleuth is constant based on th e 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 debut of love, sexual desire, and wealth and power as seen in the role it plays in this cultures literature.