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#h4##span class="mw-headline" id="TEXT_134"#TEXT 134#/span##/h4#
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#dl##dd#rāya kahe,--"kon āmukhe pātra-sannidhāna?"#/dd#
#dd#rūpa kahe,--"kāla-sāmye 'pravartaka' nāma"#/dd##/dl#
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#h4##span class="mw-headline" id="SYNONYMS"#SYNONYMS#/span##/h4#
#div class="synonyms"#
rāya kahe—Rāmānanda Rāya says; kon—what; āmukhe—by introduction; pātra-sannidhāna—presence of the players; rūpa kahe—Śrīla Rūpa Gosvāmī replies; kāla-sāmye—in agreement of time; pravartaka nāma—the introduction called pravartaka.
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#h4##span class="mw-headline" id="TRANSLATION"#TRANSLATION#/span##/h4#
#div class="translation"#
Rāmānanda Rāya inquired, "How have you introduced the assembly of the players?" Rūpa Gosvāmī replied, "The players assemble at a suitable time under the heading of pravartaka.
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#h4##span class="mw-headline" id="PURPORT"#PURPORT#/span##/h4#
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In a drama all the actors are called pātra, or players. This is stated by Viśvanātha Kavirāja in the Sāhitya-darpaṇa (6.283):
#dl##dd#divya-martye sa tad-rūpo#/dd#
#dd#miśram anyataras tayoḥ#/dd#
#dd#sūcayed vastu-bījaṁ vā-#/dd#
#dd#mukhaṁ pātram athāpi vā#/dd##/dl#
The meaning of āmukha is stated by Śrīla Rūpa Gosvāmī in the Nāṭaka-candrikā:
#dl##dd#sūtra-dhāro naṭī brūte#/dd#
#dd#sva-kāryaṁ pratiyuktitaḥ#/dd##/dl#
prastutākṣepicitroktyā
#dl##dd#yat tad āmukham īritam#/dd##/dl#
When Śrīla Rāmānanda Rāya inquired about the arrangement for introducing the assembly of players in the drama, Rūpa Gosvāmī replied that when the players first enter the stage in response to the time, the introduction is technically called pravartaka. For an example one may consult the Antya-līlā, First Chapter, verse 17. Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura says that the introduction, which is technically called āmukha, may be of five different kinds, according to the Sāhitya-darpaṇa (6.288):
#dl##dd#udghātyakaḥ kathodghātaḥ#/dd#
#dd#prayogātiśayas tathā#/dd##/dl#
pravartakāvalagite
#dl##dd#pañca prastāvanā-bhidāḥ#/dd##/dl#
Introductions may be classified as follows: (1) udghātyaka, (2) kathodghāta, (3) prayogātiśaya, (4) pravartaka and (5) avalagita. These five kinds of introduction are called āmukha. Thus Śrīla Rāmānanda Rāya asked which of the five introductions had been employed, and Śrīla Rūpa Gosvāmī replied that he had used the introduction called the pravartaka.
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#h4##span class="mw-headline" id="TEXT_134"#TEXT 134#/span##/h4#
#div class="verse"#
#dl##dd#rāya kahe,—“kon āmukhe pātra-sannidhāna?”#/dd#
#dd#rūpa kahe,—“kāla-sāmye ‘pravartaka’ nāma“#/dd##/dl#
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#h4##span class="mw-headline" id="SYNONYMS"#SYNONYMS#/span##/h4#
#div class="synonyms"#
#i##a target="_blank" rel="nofollow noreferrer noopener" class="external text" href="//vanipedia.org/wiki/Special:VaniSearch?s=rāya&tab=syno_o&ds=1"#rāya #a target="_blank" rel="nofollow noreferrer noopener" class="external text" href="//vanipedia.org/wiki/Special:VaniSearch?s=kahe&tab=syno_o&ds=1"#kahe#/i# — Rāmānanda Rāya says; #i##a target="_blank" rel="nofollow noreferrer noopener" class="external text" href="//vanipedia.org/wiki/Special:VaniSearch?s=kon&tab=syno_o&ds=1"#kon#/i# — what; #i##a target="_blank" rel="nofollow noreferrer noopener" class="external text" href="//vanipedia.org/wiki/Special:VaniSearch?s=āmukhe&tab=syno_o&ds=1"#āmukhe#/i# — by introduction; #i##a target="_blank" rel="nofollow noreferrer noopener" class="external text" href="//vanipedia.org/wiki/Special:VaniSearch?s=pātra&tab=syno_o&ds=1"#pātra-#a target="_blank" rel="nofollow noreferrer noopener" class="external text" href="//vanipedia.org/wiki/Special:VaniSearch?s=sannidhāna&tab=syno_o&ds=1"#sannidhāna#/i# — presence of the players; #i##a target="_blank" rel="nofollow noreferrer noopener" class="external text" href="//vanipedia.org/wiki/Special:VaniSearch?s=rūpa&tab=syno_o&ds=1"#rūpa #a target="_blank" rel="nofollow noreferrer noopener" class="external text" href="//vanipedia.org/wiki/Special:VaniSearch?s=kahe&tab=syno_o&ds=1"#kahe#/i# — Śrīla Rūpa Gosvāmī replies; #i##a target="_blank" rel="nofollow noreferrer noopener" class="external text" href="//vanipedia.org/wiki/Special:VaniSearch?s=kāla&tab=syno_o&ds=1"#kāla-#a target="_blank" rel="nofollow noreferrer noopener" class="external text" href="//vanipedia.org/wiki/Special:VaniSearch?s=sāmye&tab=syno_o&ds=1"#sāmye#/i# — in agreement of time; #i##a target="_blank" rel="nofollow noreferrer noopener" class="external text" href="//vanipedia.org/wiki/Special:VaniSearch?s=pravartaka&tab=syno_o&ds=1"#pravartaka #a target="_blank" rel="nofollow noreferrer noopener" class="external text" href="//vanipedia.org/wiki/Special:VaniSearch?s=nāma&tab=syno_o&ds=1"#nāma#/i# — the introduction called #i#pravartaka#/i#.
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#h4##span class="mw-headline" id="TRANSLATION"#TRANSLATION#/span##/h4#
#div class="translation"#
Rāmānanda Rāya inquired, "How have you introduced the assembly of the players?"
Rūpa Gosvāmī replied, "The players assemble at a suitable time under the heading of pravartaka.
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#h4##span class="mw-headline" id="PURPORT"#PURPORT#/span##/h4#
#div class="purport"#
In a drama all the actors are called #i#pātra#/i#, or players. This is stated by Viśvanātha Kavirāja in the #i#Sāhitya-darpaṇa#/i# (6.283):
#dl##dd##i#divya-martye sa tad-rūpo miśram anyataras tayoḥ#/i##/dd#
#dd##i#sūcayed vastu-bījaṁ vāmukhaṁ pātram athāpi vā#/i##/dd##/dl#
The meaning of #i#āmukha#/i# is stated by Śrīla Rūpa Gosvāmī in the #i#Nāṭaka-candrikā#/i#:
#dl##dd##i#sūtra-dhāro naṭī brūte sva-kāryaṁ pratiyuktitaḥ#/i##/dd#
#dd##i#prastutākṣepi-citroktyā yat tad āmukham īritam#/i##/dd##/dl#
When Śrīla Rāmānanda Rāya inquired about the arrangement for introducing the assembly of players in the drama, Rūpa Gosvāmī replied that when the players first enter the stage in response to the time, the introduction is technically called #i#pravartaka#/i#. For an example, see verse 136 below. Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura says that the introduction, which is technically called #i#āmukha#/i#, may be of five different kinds, according to the #i#Sāhitya-darpaṇa#/i# (6.288):
#dl##dd##i#udghātyakaḥ kathodghātaḥ prayogātiśayas tathā#/i##/dd#
#dd##i#pravartakāvalagite pañca prastāvanā-bhidāḥ#/i##/dd##/dl#
"Introductions may be classified as follows: (1) #i#udghātyaka#/i#, (2) #i#kathodghāta#/i#, (3) #i#prayogātiśaya#/i#, (4) #i#pravartaka#/i# and (5) #i#avalagita#/i#." These five kinds of introduction are called #i#āmukha#/i#. Thus Śrīla Rāmānanda Rāya asked which of the five introductions had been employed, and Śrīla Rūpa Gosvāmī replied that he had used the introduction called the #i#pravartaka#/i#.
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