The Perfumed Garden Part 5 — The Final 14 (261–274)
The closing fourteen positions of al-Nafzawi's catalogue, mapped across three acts and rated for intensity — ninety-two positions end here.
Ninety-Two Positions End Here
Across five parts we've mapped al-Nafzawi's complete catalogue — positions 183 to 274. Part 4 arranged the previous twenty as a ladder; this final section returns to the Atlas format for the closing fourteen.
Two things stand out about how the book ends. First, the numbered Postures are already finished — the First through Eleventh conclude in Part 4, so these last fourteen carry only descriptive names. The systematic framework closes before the catalogue does.
Second, position 266 contains the clearest statement of the text's philosophy anywhere in it: sex is a doubles game, you need not always initiate, and sometimes being the receiver has its own rewards. That al-Nafzawi attaches it to one of the easiest positions in the book rather than one of the impressive ones is worth noticing.
Two Where the Strain Falls on Her
The Bold Plunge (263) has her supporting her upper body entirely on her hands, and Crescent Moon (270) is a backbend held under movement — al-Nafzawi says plainly the latter isn't for everyone. In both, her arms and back carry the load despite appearances, so her call to stop is the only one that matters. Skipping both costs you nothing at all.
The Raised Family
Five deep-contact arrangements built on lifting her legs — onto shoulders, vertically, or asymmetrically. Al-Nafzawi opens his final section with the geometry he returns to most often across the whole catalogue.
She lies back and rests her legs on his shoulders, opening the angle wide; he sits on his heels between her legs to find the fit. Sitting on the heels rather than kneeling upright is the detail that distinguishes it — it lowers his centre of gravity and stabilises a deep-contact arrangement that otherwise drifts. Her raised legs also bring clitoral contact into play alongside the depth.
📖 Read Perfumed Garden Part 4 (Ladder) →
She lies back and lifts her legs straight up to rest on his shoulders, coming into a semi-inverted position while holding his legs for stability; he kneels upright and holds her hips. Legs vertical rather than spread produces one of the narrowest angles in the catalogue — and the kneeling base gives him leverage without arm strain.
📖 See Perfumed Garden Part 3 (Field Guide) →
He kneels upright and lifts her hips while she supports her upper body entirely on her hands, legs stretched behind his back. Her arms carry most of the load, which makes this genuinely demanding for her rather than him — she should set the duration, and the moment her arms begin to shake it is over.
📖 Read Perfumed Garden Part 2 →
She lies back with one leg stretched behind his back and the other folded across his chest, coming into a semi-inverted position; he kneels upright, holding her for grip. The asymmetry is the whole design — one leg opens the angle while the other stabilises, and it needs far less flexibility than the both-legs-raised entries.
📖 See Perfumed Garden Part 1 →
He lies back and folds his legs open into a diamond; she lies over him with her head raised and hands braced near his neck, riding with her legs stretched and her hands taking the weight. He guides at her hips rather than driving. She controls depth and angle throughout — the name refers to the exchange of roles.
Standing & Kneeling
Six positions where at least one partner is upright — including the text's clearest statement of its own philosophy, attached to one of its easiest positions.
He lies flat and she lies over him in a complete reversal of missionary — legs over his, hands held, rocking from her hips while he stays entirely passive. The text makes its argument explicitly here: sex is a doubles game, you need not always initiate, and sometimes being the receiver has its own rewards.
He stands with his back against a wall and holds her close; she lifts one leg against the wall and leans into him, using her knee for leverage while his arms encircle her back. Because she generates the movement, this lasts far longer than a lifted standing position — and his mouth reaches her neck throughout.
He leans against a wall with one leg pressed against the calf of the other; she stands close and he draws her in. The crossed-leg stance is what stabilises him, and the arrangement leaves both faces close enough for continuous kissing and conversation. The text notes it supports slowing down, talking, then resuming — a rhythm few standing positions allow.
📖 See Kamasutra Part 3 (Purushayita) →
A standing embrace at peak arousal: she holds him tightly and presses her foot against the back of his leg, effectively climbing toward him. The text describes it as arising rather than being arranged — she guides the fit herself, and his role is to hold steady and say the thing that intensifies it.
She bends backward into an arch with her hands braced against a wall while he stands between her legs. This demands genuine flexibility and sustained arm strength from her — al-Nafzawi says outright that it isn't for everyone, and that warning should be taken at face value. Brief holds, and come out of it slowly.
He kneels with one leg stretched; she kneels facing him with one leg over his thigh and the other on the ground. He draws her in and moves from the hips while she adjusts her torso. Face to face, embraced, and the text recommends beginning slowly with conversation before increasing the pace.
The Closing Four
Three final entries: full-length contact, a vertical-legs kneeling posture, and a wall-braced lift that ends seventy-eight positions on pure urgency.
She lies back with legs stretched while he lies fully along her, hands braced near her shoulders; she places her feet against the backs of his legs, which opens the angle. Complete body contact from shoulder to ankle — the immersion of the name is literal, and it's the most contact-rich position in this final section.
📖 Browse the Love & Intimacy Dictionary →
She lies back and lifts her legs vertically while holding his legs for stability; he kneels upright, holding her hips. Nearly identical to Tail of the Ostrich, differing in where her legs rest and how she braces — the text catalogues both because the angle genuinely differs between them.
The catalogue's final position: he lifts her and braces her against a wall while she holds his neck and shoulders. The wall carries what his arms otherwise would, and the text frames it as pure urgency — the position you arrive at when nothing slower will do. Seventy-eight positions across five parts end standing up.
⭐ The Atlas Table
| # | Position | Intensity | Act | Pairs With |
|---|---|---|---|---|
| 261 | The Toothpick | ●●●●○ | Act 1 | Durex Intense Vibe Bullet → |
| 262 | Tail of the Ostrich | ●●●●○ | Act 1 | Carex Rabbit Vibe Ring → |
| 263 | The Bold Plunge | ●●●●● | Act 1 | Extreme O Bullet Vibe → |
| 264 | Love's Tailor | ●●●○○ | Act 1 | Carex Hammer Vibe Ring → |
| 265 | Interchange of Coition | ●●●○○ | Act 1 | Lipstick Massager → |
| 266 | The Robust Member | ●●○○○ | Act 2 | Magic Massager Wand → |
| 267 | Belly Press | ●●●○○ | Act 2 | Durex Intense Vibe Bullet → |
| 268 | The Bent-Limb Posture | ●●○○○ | Act 2 | Carex Rabbit Vibe Ring → |
| 269 | Two Bamboo Stems | ●●●○○ | Act 2 | Extreme O Bullet Vibe → |
| 270 | Crescent Moon | ●●●●● | Act 2 | Carex Hammer Vibe Ring → |
| 271 | Students in the Art of Love | ●●○○○ | Act 2 | Lipstick Massager → |
| 272 | Immersion | ●●●○○ | Act 3 | Magic Massager Wand → |
| 273 | The Worshipper | ●●●●○ | Act 3 | Durex Intense Vibe Bullet → |
| 274 | Driving the Peg Home | ●●●●● | Act 3 | Carex Rabbit Vibe Ring → |
Pairs With — Shop by Category
Explore More Guides
Part 4 (Ladder) · Part 3 (Field Guide) · Part 2 · Part 1 · Tao Part 4 · Kamasutra Part 4 · Ananga Ranga Part 2 · All About Condoms · How-To Guides · All Sex Positions
Closing the Garden
Ninety-two positions, written between 1410 and 1434, translated by Burton in 1886, and read six centuries later on a phone. What survives isn't the acrobatics — it's the cushion under the hips, the wall to lean against, the instruction to get the fit right before moving, and one sentence in position 266 arguing that a partner who never participates is a loss to both of you. The catalogue ends standing against a wall because that, al-Nafzawi seems to say, is where couples actually end up.
Frequently Asked Questions
How many positions are in the complete Perfumed Garden guide?
Ninety-two across five parts — 183 to 274. Part 1 covers 183–200, Part 2 covers 201–220, Part 3 is a filterable field guide to 221–240, Part 4 is a ladder of 241–260, and this final section maps the closing fourteen.
What happened to the numbered Postures?
Al-Nafzawi's numbered sequence — First through Eleventh — runs across Parts 1 to 4 and concludes there. This final section contains only descriptively named positions, which is itself telling: the systematic framework closes before the catalogue does.
Which positions here should we skip?
The Bold Plunge (263) puts her in a supported handstand and Crescent Moon (270) is a backbend held under movement — al-Nafzawi says outright that the latter isn't for everyone. Both put the strain on her rather than him, so her call to stop is the only one that counts.
Which are the practical everyday ones?
The Robust Member (266) asks nothing of either partner and hands her complete control. The Bent-Limb Posture (268) is the rare standing position that supports conversation. Students in the Art of Love (271) needs no furniture and keeps you face to face throughout.
What does the catalogue end on?
Driving the Peg Home (274) — a wall-braced lift, framed as the position you arrive at when nothing slower will do. After ninety-two entries covering every posture family, al-Nafzawi closes on urgency rather than technique, which reads as a deliberate choice.
Is delivery from Condombazaar discreet?
Completely. Every order ships in plain, unmarked packaging with sender name CA Gain Healthcare — no product name or brand visible anywhere on the box. Delivering privately across India since 2010.
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