《洞玄子》

Dongxuanzi says: Heaven and Earth give life to the myriad things, and among them, human beings are the most precious. For human beings, the matter of the bedchamber—sexual union between man and woman—is especially important. It should take its model from Heaven and Earth, bringing Yin and Yang into harmony. Understanding its principles can nurture body and mind and prolong life; neglecting its foundations can deplete the spirit and shorten one’s years. The methods of the Mysterious Woman, the goddess said to have taught the arts of the bedchamber, have been passed down for a long time. Although accounts of them have outlined the general principles, they have not fully revealed their subtleties. I have often read these accounts and considered how to fill their gaps. I have therefore brought together earlier methods and written this new classic. Though I have not exhausted every subtlety, I have addressed some of the essential points. The book discusses postures for sitting and lying during sexual union; the body’s prone and supine positions and its opening and closing; methods of turning to the side, arching the back, moving forward, and drawing back; and measures for the depth of advance and withdrawal. These are all informed by the principles of Yin and Yang and coordinated with the numbers of the Five Phases. Those who understand the essentials can preserve their lives; those who use the methods improperly may endanger their bodies. These methods may benefit ordinary people and should rightly be passed down for generations.

Dongxuanzi says: Heaven turns to the left, and Earth revolves to the right; spring and summer pass, followed by autumn and winter; the man initiates, and the woman responds; the upper part moves, and the lower part follows. These are the natural patterns of things. If the man moves without the woman responding, or the woman moves without the man joining in, this harms not only the man but the woman as well. This is because the movements of Yin and Yang are out of accord, and above and below work at cross-purposes; their union is therefore inauspicious. The man should turn to the left, and the woman revolve to the right; the man should enter downward, and the woman receive him upward. Only then can their union be called harmonious in Yin and Yang, with Heaven and Earth each in proper accord.

As for the depth and pace of movement, and changes in direction, there is no single method; the variations are many. When the movement is slow, it is like a crucian carp teasing a fishhook; when it is quick, it is like a flock of birds stirred into flight by the wind. Advancing and withdrawing, drawing and responding, moving up and down, going back and forth from side to side, and varying the rhythm of entry and withdrawal should all be coordinated between the two. Adjust flexibly to the circumstances rather than clinging to a fixed method, so that the movements meet the needs of the moment.

At the start of each sexual union, the man sits to the woman’s left and the woman to the man’s right. The man sits with his knees bent and legs apart, holding the woman in his arms and embracing her around the waist. He caresses her body, speaking tenderly and intimately until they are attuned to one another. They embrace, hold each other close, press their bodies together, and kiss: the man takes the woman’s lower lip into his mouth, while she takes his upper lip, and they suck on each other’s lips. Sometimes they gently touch each other’s tongue or lips with their teeth; sometimes they hold each other’s head or pinch each other’s ears. They also caress the body and lightly tap different parts. After this intimacy has eased their tension and apprehension, the woman takes the man’s penis in her left hand, while the man caresses her genitals with his right.

Responsive to the woman’s Yin Qi—the female energy described in traditional bedroom arts—the man’s penis becomes erect, standing like a high peak reaching into the sky. Responsive to the man’s Yang Qi—the male energy described in traditional bedroom arts—the woman’s genitals secrete fluid, like spring water flowing from a deep valley. These responses are said to arise from the interaction of Yin and Yang and cannot be brought about by human will alone. They may unite sexually only once both responses have appeared. If the man cannot become erect or the woman does not produce fluid, this means an internal illness has manifested in the body.

The Dongxuanzi also says: At the start of each sexual union, they should first sit, then lie down. Once settled, the woman should lie on her back so that they face each other as they unite. If the man cannot become erect or the woman does not produce fluid, this likewise means an internal illness has manifested in the body.

The Dongxuanzi says that when a man and woman first have intercourse, they should sit first and then lie down, with the woman on the left and the man on the right. Once they are settled, the woman should lie on her back with her legs and arms extended. The man should lean over her, kneel between her legs, raise his penis, and bring it close to the vaginal opening. They should then kiss, suck, flirt, and caress her abdomen and the area around her breasts. When their desire has grown, they may begin intercourse. The text says that at this stage there is only external contact; there has not yet been true penetration.

Once the woman’s vagina is lubricated, the man should insert his penis so that their bodily fluids mingle, and have intercourse with repeated forward and backward motions. The text describes the woman as responding intensely to pleasure. Afterward, they should wipe with a cloth, then insert the penis more deeply and use the method known as “nine shallow, one deep”—nine shallow thrusts followed by one deep thrust. During intercourse, they should vary the direction, speed, and depth of their movements and coordinate them with their breathing so that the woman feels comfortable. When her body begins to respond, they should adjust their movements.

The scripture concludes with a warning: when the woman’s fluids begin to flow, the man should withdraw promptly, while his penis is still erect. Withdrawing only after it has softened can cause him considerable harm, so he must take special care.

The Dongxuanzi says: When examining the methods of advancing and withdrawing during sexual intercourse, they all come down to such techniques as “withdrawing” and “turning back while still vigorous.” One must not withdraw rigidly in a straight line. The return must happen while vitality remains; withdrawing only after it has waned can seriously harm the man, so particular care is essential.

The Dongxuanzi also says: The methods of sexual intercourse number no more than thirty. They involve variations such as bending and stretching, leaning forward and lying back, and different depths of penetration. The methods are broadly alike, with slight differences in detail. In this sense, they form a complete set, leaving nothing out. I have therefore recorded their names according to the various postures, naming them as well by the shapes those postures suggest. Those who understand this art can appreciate what these names imply.

One, “Describing Intimate Entwining”: describing the state of tender, close embrace.

Two, “Expressing Close Attachment”: “close attachment” means being intimately joined and inseparable.

Three, “Fish with Gills Bared”: the posture of a fish spreading its gills.

Four, “Qilin’s Horn”: a posture named after the horn of a qilin. Variations beyond these four postures belong to the same category.

Five, “Silkworm Entwining”: The woman lies on her back, raises her arms around the man’s neck, and crosses her legs over his back. The man holds her around the neck, kneels between her legs, and then they have intercourse.

Six, “Dragon Turning Gracefully”: The woman lies on her back with her legs bent. The man kneels between her legs and uses his left hand to push them forward, raising them above her breasts; with his right hand, he guides intercourse.

Seven, “Paired Fish”: “Paired” refers to two fish swimming side by side. The man and woman lie together on their sides. She places one leg over him, and they face each other, kissing and sucking one another’s tongues. He stretches out his legs, supports the leg she has placed over him with his hand, and then they have intercourse.

Eight, “Swallows United in Heart”: The woman lies on her back with her legs extended. The man straddles her and lies face down, holding her around the neck with both arms. She holds him around the waist with both arms, and then they have intercourse.

Nine, “Jadeite Joining”: The woman lies on her back with her legs bent. The man kneels with his legs apart and sits between hers, holding her around the waist with both arms. Then they have intercourse.

Ten. Mandarin Ducks Embrace: Have the woman lie on her side with her knees bent and resting across the man’s legs. The man straddles her legs from behind, raising one knee onto her thigh, and they then have intercourse.

Eleven. Butterfly Somersault: The man lies on his back with his legs extended. The woman sits facing him, straddling him, with her feet braced on the bed and her arms supporting her body. They then have intercourse.

Twelve. Wild Duck Flying Backward: The man lies on his back with his legs extended. The woman sits astride him with her back to him, her feet braced on the bed. She bends forward and embraces his penis, guiding it into her vagina.

Thirteen. Pine Tree Leaning Overhead: Have the woman cross her legs and raise them. The man holds her around the waist with both hands, and she holds him around the waist as well. They then have intercourse.

Fourteen. Bamboo Beside the Altar: The man and woman stand facing one another, embracing and kissing as they have intercourse, with the man’s penis entering deeply into the woman’s vagina.

Fifteen. Two Phoenixes Dancing: One partner lies on their back and the other face down. The partner lying on their back bends their knees, while the other straddles them, their genitals facing one another. The man sits upright and moves his penis up and down.

Sixteen. Phoenix Carrying Its Young: When the woman is full-figured, she may have intercourse with a slimmer, smaller man.

Seventeen. Seagull Soaring: The man stands beside the bed and lifts the woman’s legs, raising her up, then inserts his penis into her vagina.

Eighteen. Fine Steed Stretching Its Legs: The woman lies on her back. The man lifts her legs and rests one on each of his shoulders, then inserts his penis deeply into her vagina.

Nineteen. Steed Galloping: The text here may be missing words. The surviving passage mentions only raising the woman’s legs and inserting the penis into the womb. “Womb” is a term used in ancient sexual manuals and cannot be equated directly with the uterine cavity as understood in modern medicine.

At the end of the original, “Eighteen. Fine Steed Stretching Its Legs” appears again, with the same content as above.

Nineteen, “The Steed Gallops”: The woman lies on her back. The man crouches beside her, supports her neck with his left hand, and lifts one of her feet with his right. He then inserts his penis into her vagina.

Twenty, “The Horse Shakes Its Hoof”: The woman lies on her back. The man raises one of her feet onto his shoulder and holds her other foot himself, then inserts his penis deeply into her vagina. The original calls this position “exhilarating,” meaning that it stirs great passion.

Twenty-one, “The White Tiger Leaps”: The woman kneels, leaning forward. The man kneels behind her, holds her around the waist with both hands, and inserts his penis into her vagina.

Twenty-two, “The Dark Cicada Clings”: The woman lies face down with her legs extended. The man kneels between her legs with his own legs bent, holds her around the neck with both hands, and inserts his penis into her vagina from behind.

Twenty-three, “The Mountain Goat Faces the Tree”: The man sits with his knees bent. The woman sits on him, facing away. After looking down to check, she inserts his penis into her vagina. The man holds her tightly around the waist.

Twenty-four, “The Kun Chicken Takes the Field”: The man sits crouched on the bed. He positions one woman in front of him to guide his penis into another woman’s vagina, while the second woman holds the hem of the first woman’s clothing from behind. The original says this arrangement enables him to satisfy his desire fully.

Twenty-five, “The Phoenix Roams the Cinnabar Cave”: The woman lies on her back and lifts both feet with her hands. The man kneels behind her, braces himself on the bed with both hands, and inserts his penis into her vagina.

Twenty-six, “The Great Peng Soars over the Dark Sea”: The woman lies on her back. The man places her feet on his shoulders, one on each side, then holds her waist from below with his hands and inserts his penis into her vagina.

Twenty-seven, “The Gibbon Clings to the Tree”: The man sits with his knees bent. The woman straddles his legs and embraces him with both arms. The man supports her buttocks with one hand and inserts his penis into her vagina, while bracing himself on the bed with the other.

Twenty-eight, “The Cat and Mouse Share a Burrow”: The man lies on his back with his legs extended. The woman leans over him and inserts his penis deeply into her vagina. Alternatively, the man can lean over the woman’s back and insert his penis into her vagina from behind.

The twenty-ninth position is called “Three Springs Donkey.” The woman supports herself on her hands and knees on the bed. The man stands behind her, holds her around the waist with both hands, and inserts his penis into her vagina. She bends forward under the pressure of his body as he thrusts deeper into her vagina. Another account says that the man lies over her back and moves his penis.

There is another description of the twenty-ninth position, “Three Springs Donkey”: the woman supports herself on her hands and knees on the bed, while the man stands behind her, holds her around the waist with both hands, and inserts his penis into her vagina. This position is called “Very Great Pleasure,” meaning extremely comfortable and satisfying.

The thirtieth position is called “Three Autumns Dog.” The man and woman face away from each other, both supporting themselves on their hands and feet on the bed, with their buttocks pressed together. The man lowers his head, steadies his penis with one hand, and inserts it into the woman’s vagina.

The Dongxuanzi says there are nine ways to thrust with the penis. First, thrust from side to side, like a fierce general breaking through enemy ranks. Second, move up and down, like a wild horse leaping across a ravine. Third, move in and out intermittently, like gulls above the waves. Fourth, thrust deeply and tease shallowly, like a sparrow pecking at a mortar. Fifth, plunge in deeply and withdraw with shallow thrusts, like a great stone cast into the sea. Sixth, raise it slowly and press forward gradually, like a frozen snake entering its burrow. Seventh, thrust straight and swiftly, like a startled mouse darting through a hole. Eighth, raise the tip and bend the legs, like a falcon stooping to seize a wily hare. Ninth, lift upward and plunge downward, like a great sail caught in a gale.

Dongxuanzi says that intercourse has six methods. First, press the penis downward and move it back and forth against the ridges inside the vagina, as though splitting open a river mussel to retrieve its pearl. Second, lift the vagina and thrust upward against its front wall, as though breaking open a stone in search of fine jade. Third, thrust the penis against the vagina, as though pounding medicine with an iron pestle. Fourth, move the penis in and out, rubbing and striking the vagina on both sides, as though repeatedly hammering a piece of iron. Fifth, move the penis back and forth deep inside the vagina, as though a farmer were tilling autumn fields. Sixth, rub the penis against the depths of the vagina, as though two cliffs were colliding. In the text, “jade stem” and “yang point” refer to the male genitals; “golden ravine,” “divine field and secluded valley,” and “mysterious garden and heavenly court” are euphemisms for the female genitals and their parts.

Dongxuanzi also says that, as ejaculation approaches, the man should wait until the woman is close to climax, then ejaculate at the same time as she does. He should make shallow strokes, moving the penis between the “zither strings” and “wheat teeth”; these, too, are euphemisms for parts of the female genitals. The penis should enter only shallowly and gently, as an infant takes the breast. At this point, close the eyes and focus inward in the mind; press the tongue against the palate, tighten the shoulders and extend the neck, open the arms while drawing the shoulders inward, and breathe in with the mouth closed. By circulating Qi in this way, one can temporarily control the semen and decide how much to release, allowing it to flow only two or three times out of ten.

Dongxuanzi says: If a couple wishes to conceive, they should wait until the woman’s menstrual period has ended before having intercourse. Intercourse on the first, second, or third day after her period is said to produce a boy; on the fourth or fifth day, a girl. Intercourse after the fifth day only drains one’s strength and brings no benefit. During intercourse, at the moment of ejaculation, the couple should wait until the woman feels she is about to reach orgasm, then both should release their essence at the same time, and the man should ejaculate fully. First, the woman should lie on her back, facing upward. She should steady her mind, focus without distraction, close her eyes, and imagine inwardly that she is receiving vital essence. Laozi says: Conception at midnight produces a child with the longest lifespan; conception before midnight produces a child with the next longest lifespan; conception after midnight produces a child with a shorter lifespan.

After the woman becomes pregnant, she should do good deeds, avoid looking at disturbing sights and hearing coarse or malicious words, restrain her desires, and neither curse, insult, nor be frightened. She should not overexert herself, speak falsely, or give way to sorrow. In her diet, she should avoid raw, cold, sour, slippery, greasy, or excessively hot foods. She should not ride in a carriage or on horseback, climb to high places, approach deep places, walk downhill, or walk quickly. She should take no medicine and receive no acupuncture. She should keep her thoughts upright and often listen to scriptures. This is what is called “prenatal education.” The text holds that following these practices will make a child, whether boy or girl, intelligent and wise, honest and sincere, and upright in conduct.

Dongxuanzi says: If the man is twice the woman’s age, he will harm her; if the woman is twice the man’s age, she will harm him. Intercourse is beneficial when its direction and timing are auspicious and in keeping with the seasons. At the start of spring, face east; at the start of summer, face south; at the start of autumn, face west; and at the start of winter, face north. Yang days are beneficial, while Yin days are harmful; the text classifies even-numbered days as Yang days. Yang hours are beneficial, while Yin hours are harmful: the hours after midnight and before noon are Yang, while those after noon and before midnight are Yin. Spring corresponds to the days of Jia and Yi, summer to Bing and Ding, autumn to Geng and Xin, and winter to Ren and Gui.