The "Padmini," or lotus-woman, is described by Hindu writers as the type of most perfect feminine beauty. "She in whom the following signs and symptoms appear is called a Padmini: Her face is pleasing as the full moon; her body, well clothed with flesh, is as soft as the Shiras or mustard flower; her skin is fine, tender, and fair as the yellow lotus, never dark colored. Her eyes are bright and beautiful as the orbs of the fawn, well cut, and with reddish corners. Her bosom is hard, full, and high; she; has a good neck; her nose is straight and lovely; and three folds or wrinkles cross her middle—about the umbilical region. Her yoni [vulva] resembles the opening lotus bud, and her love-seed is perfumed like the lily that has newly burst. She walks with swanlike [more exactly, flamingolike] gait, and her voice is low and musical as the note of the Kokila bird [the Indian cuckoo]; she delights in white raiment, in fine jewels, and in rich dresses. She eats little, sleeps lightly, and being as respectful and religious as she is clever and courteous, she is ever anxious to worship the gods and to enjoy the conversation of Brahmans. Such, then, is the Padmini, or lotus-woman." (The Kama Sutra of Vatsyayana, 1883, p. 11.)
The Hebrew ideal of feminine beauty is set forth in various passages of the Song of Songs. The poem is familiar, and it will suffice to quote one passage:—
"How beautiful are thy feet in sandals, O prince's daughter!
Thy rounded thighs are like jewels,
The work of the hands of a cunning workman.
Thy navel is like a rounded goblet
Wherein no mingled wine is wanting;
Thy belly is like a heap of wheat
Set about with lilies.
Thy two breasts are like two fawns
They are twins of a roe.
Thy neck is like the tower of ivory;
Thine eyes as the pools in Heshbon, by the gate of Bathrabbim;
Thy nose is like the tower of Lebanon
That looketh toward Damascus.
Thine head upon thee is like Carmel
And the hair of thine head like purple;
The king is held captive in the tresses thereof.
This thy stature is like to a palm-tree,
And thy breasts to clusters of grapes,
And the smell of thy breath like apples,
And thy mouth like the best wine."
And the man is thus described in the same poem:—
"My beloved is fair and ruddy,
The chiefest among ten thousand.
His head as the most fine gold,
His locks are bushy (or curling), and black as a raven.
His eyes are like doves beside the water-brooks,
Washed with milk and fitly set.
His cheeks are as a bed of spices, as banks of sweet herbs;
His lips are as lilies, dropping liquid myrrh.
His hands are as rings of gold, set with beryl;
His body is as ivory work, overlaid with sapphires.
His legs are as pillars of marble, set upon sockets of fine gold.
His aspect is like Lebanon, excellent as the cedars.
His mouth is most sweet; yea, he is altogether lovely."
"The maiden whose loveliness inspires the most impassioned expressions in Arabic poetry," Lane states, "is celebrated for her slender figure: She is like the cane among plants, and is elegant as a twig of the oriental willow. Her face is like the full moon, presenting the strongest contrast to the color of her hair, which is of the deepest hue of night, and falls to the middle of her back (Arab ladies are extremely fond of full and long hair). A rosy blush overspreads the center of each cheek; and a mole is considered an additional charm. The Arabs, indeed, are particularly extravagant in their admiration of this natural beauty spot, which, according to its place, is compared to a drop of ambergris upon a dish of alabaster or upon the surface of a ruby. The eyes of the Arab beauty are intensely black,[[132]] large, and long, of the form of an almond: they are full of brilliancy; but this is softened by long silken lashes, giving a tender and languid expression that is full of enchantment and scarcely to be improved by the adventitious aid of the black border of kohl; for this the lovely maiden adds rather for the sake of fashion than necessity, having what the Arabs term natural kohl. The eyebrows are thin and arched; the forehead is wide and fair as ivory; the nose straight; the mouth, small; the lips of a brilliant red; and the teeth, like pearls set in coral. The forms of the bosom are compared to two pomegranates; the waist is slender; the hips are wide and large; the feet and hands, small; the fingers, tapering, and their extremities dyed with the deep orange tint imparted by the leaves of the henna."
Lane adds a more minute analysis from an unknown author quoted by El-Ishákee: "Four things in a woman should be black—the hair of the head, the eyebrows, the eyelashes, and the dark part of the eyes; four white—the complexion of the skin, the white of the eyes, the teeth, and the legs; four red—the tongue, the lips, the middle of the cheeks, and the gums; four round—the head, the neck, the forearms, and the ankles; four long—the back, the fingers, the arms, and the legs; four wide—the forehead, the eyes, the bosom, and the hips; four fine—the eyebrows, the nose, the lips, and the fingers; four thick—the lower part of the back, the thighs, the calves of the legs, and the knees; four small—the ears, the breasts, the hands, and the feet." (E. W. Lane, Arabian Society in the Middle Ages, 1883, pp. 214-216.)
A Persian treatise on the figurative terms relating to beauty shows that the hair should be black, abundant, and wavy, the eyebrows dark and arched. The eyelashes also must be dark, and like arrows from the bow of the eyebrows. There is, however, no insistence on the blackness of the eyes. We hear of four varieties of eye: the dark-gray eye (or narcissus eye); the narrow, elongated eye of Turkish beauties; the languishing, or love-intoxicated, eye; and the wine-colored eye. Much stress is laid on the quality of brilliancy. The face is sometimes described as brown, but more especially as white and rosy. There are many references to the down on the lips, which is described as greenish (sometimes bluish) and compared to herbage. This down and that on the cheeks and the stray hairs near the ears were regarded as very great beauties. A beauty spot on the chin, cheek, or elsewhere was also greatly admired, and evoked many poetic comparisons. The mouth must be very small. In stature a beautiful woman must be tall and erect, like the cypress or the maritime pine. While the Arabs admired the rosiness of the legs and thighs, the Persians insisted on white legs and compared them to silver and crystal. (Anis El-Ochchâq, by Shereef-Eddin Romi, translated by Huart, Bibliothèque de l'Ecole des Hautes Etudes, Paris, fasc. 25, 1875.)
In the story of Kamaralzaman in the Arabian Nights El-Sett Budur is thus described: "Her hair is so brown that it is blacker than the separation of friends. And when it is arrayed in three tresses that reach to her feet I seem to see three nights at once.
"Her face is as white as the day on which friends meet again. If I look on it at the time of the full moon I see two moons at once.