CC Adi 16.102 (1975): Difference between revisions

Latest revision as of 15:37, 26 January 2020

Śrī Caitanya-caritāmṛta (1975) - Ādi-līlā - Chapter 16: The Pastimes of the Lord in His Childhood and Youth

Ādi-līlā 16.101 - Ādi-līlā 16.103

Compare Versions: CC 1975 with CC 1996

His Divine Grace
A.C. Bhaktivedanta Swami Prabhupada

TEXT 102

doṣa-guṇa-vicāra--ei alpa kari' māni

kavitva-karaṇe śakti, tāṅhā se vākhāni

SYNONYMS

doṣa-guṇa-vicāra—therefore to criticize one's poetry as good or bad; ei—this; alpa—negligible; kari'-making; māni—I consider; kavitva—poetic ingenuity; karaṇe—in performing; śakti—power; tāṅhā—that; se—we; vākhāni—describe.

TRANSLATION

"Such mistakes should be considered negligible. One should see only how such poets have displayed their poetic power.

PURPORT

In Śrīmad-Bhāgavatam (1.5.11) it is said:

tad-vāg-visargo janatāgha-viplavo

yasmin prati-ślokam abaddhavaty api

nāmany anantasya yaśo 'ṅkitāni yat

śṛṇvanti gāyanti gṛṇanti sādhavaḥ

"In explaining the glories of the Lord, inexperienced men may compose poetry with many faults, but because it contains glorification of the Lord, great personalities read it, hear it and chant it." Despite its minute literary discrepancies, one must study poetry on the merit of its subject matter. According to Vaiṣṇava philosophy, any literature that glorifies the Lord, whether properly written or not, is first class. There need be no other considerations. The poetic compositions of Bhavabhūti, or Śrīkaṇṭha, include Mālatī-mādhava, Uttara-carita, Vīra-carita and many other similar Sanskrit dramas. This great poet was born during the time of Bhojarāja as the son of Nīlakaṇṭha, a brāhmaṇa. Kālidāsa flourished during the time of Mahārāja Vikramāditya, and he became the state poet. He composed some thirty or forty Sanskrit dramas, including Kumāra-sambhava, Abhijñāna-śakuntala and Megha-dūta. His drama Raghu-vaṁśa is especially famous. We have already described Jayadeva in Chapter Thirteen of this Ādi-līlā.

Ādi-līlā 16.101 - Ādi-līlā 16.103

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 <div style="float:left">'''[[Sri Caitanya-caritamrta (1975)|Śrī Caitanya-caritāmṛta (1975)]] - [[CC Adi (1975)|Ādi-līlā]] - [[CC Adi 16 (1975)|Chapter 16: The Pastimes of the Lord in His Childhood and Youth]]'''</div>
 <div style="float:right">[[File:Go-previous.png|link=CC Adi 16.101 (1975)|Ādi-līlā 16.101]] '''[[CC Adi 16.101 (1975)|Ādi-līlā 16.101]] - [[CC Adi 16.103 (1975)|Ādi-līlā 16.103]]''' [[File:Go-next.png|link=CC Adi 16.103 (1975)|Ādi-līlā 16.103]]</div>
+{{CompareVersions|CC|Adi 16.102|CC 1975|CC 1996}}
 {{RandomImage}}
-''Below is the 1996 edition text, ready to be substituted with the 1975 one using the compile form.''
 ==== TEXT 102 ====
 <div class="verse">
-:doṣa-guṇa-vicāra—ei alpa kari’ māni
+:doṣa-guṇa-vicāra--ei alpa kari' māni
 :kavitva-karaṇe śakti, tāṅhā se vākhāni
 </div>
@@ Line 18: / Line 17: @@
 <div class="synonyms">
-doṣa-guṇa-vicāra—therefore to criticize one’s poetry as good or bad; ei—this; alpa—negligible; kari’—making; māni—I consider; kavitva—poetic ingenuity; karaṇe—in performing; śakti—power; tāṅhā—that; se—we; vākhāni—describe.
+doṣa-guṇa-vicāra—therefore to criticize one's poetry as good or bad; ei—this; alpa—negligible; kari'-making; māni—I consider; kavitva—poetic ingenuity; karaṇe—in performing; śakti—power; tāṅhā—that; se—we; vākhāni—describe.
 </div>
@@ Line 25: / Line 24: @@
 <div class="translation">
-“Such mistakes should be considered negligible. One should see only how such poets have displayed their poetic power.
+"Such mistakes should be considered negligible. One should see only how such poets have displayed their poetic power.
 </div>
@@ Line 32: / Line 31: @@
 <div class="purport">
-In Śrīmad-Bhāgavatam ([[SB 1.5.11]]) it is said:
+In Śrīmad-Bhāgavatam ([[SB 1.5.11|1.5.11]]) it is said:
 :tad-vāg-visargo janatāgha-viplavo
 :yasmin prati-ślokam abaddhavaty api
-:nāmāny anantasya yaśo ’ṅkitāni yat
+:nāmany anantasya yaśo 'ṅkitāni yat
 :śṛṇvanti gāyanti gṛṇanti sādhavaḥ
-“In explaining the glories of the Lord, inexperienced men may compose poetry with many faults, but because it contains glorification of the Lord, great personalities read it, hear it and chant it.” Despite its minute literary discrepancies, one must study poetry on the merit of its subject matter. According to Vaiṣṇava philosophy, any literature that glorifies the Lord, whether properly written or not, is first class. There need be no other considerations. The poetic compositions of Bhavabhūti, or Śrīkaṇṭha, include Mālatī-mādhava, Uttara-carita, Vīra-carita and many similar Sanskrit dramas. This great poet was born during the time of Bhojarāja as the son of Nīlakaṇṭha, a brāhmaṇa. Kālidāsa flourished during the time of Mahārāja Vikramāditya, and he became the state poet. He composed some thirty or forty Sanskrit dramas, including Kumāra-sambhava, Abhijñāna-śakuntalā and Megha-dūta. His drama Raghu-vaṁśa is especially famous. We have already described Jayadeva in Chapter Thirteen of the Adi-līlā.
+"In explaining the glories of the Lord, inexperienced men may compose poetry with many faults, but because it contains glorification of the Lord, great personalities read it, hear it and chant it." Despite its minute literary discrepancies, one must study poetry on the merit of its subject matter. According to Vaiṣṇava philosophy, any literature that glorifies the Lord, whether properly written or not, is first class. There need be no other considerations. The poetic compositions of Bhavabhūti, or Śrīkaṇṭha, include Mālatī-mādhava, Uttara-carita, Vīra-carita and many other similar Sanskrit dramas. This great poet was born during the time of Bhojarāja as the son of Nīlakaṇṭha, a brāhmaṇa. Kālidāsa flourished during the time of Mahārāja Vikramāditya, and he became the state poet. He composed some thirty or forty Sanskrit dramas, including Kumāra-sambhava, Abhijñāna-śakuntala and Megha-dūta. His drama Raghu-vaṁśa is especially famous. We have already described Jayadeva in Chapter Thirteen of this Ādi-līlā.
 </div>