CC Antya 1.134 (1975): Difference between revisions

Latest revision as of 20:07, 26 January 2020

Śrī Caitanya-caritāmṛta (1975) - Antya-līlā - Chapter 1: Śrīla Rūpa Gosvāmī's Second Meeting With the Lord

Antya-līlā 1.133 - Antya-līlā 1.135

Compare Versions: CC 1975 with CC 1996

His Divine Grace
A.C. Bhaktivedanta Swami Prabhupada

TEXT 134

rāya kahe,--"kon āmukhe pātra-sannidhāna?"

rūpa kahe,--"kāla-sāmye 'pravartaka' nāma"

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.

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.

PURPORT

In a drama all the actors are called pātra, or players. This is stated by Viśvanātha Kavirāja in the Sāhitya-darpaṇa (6.283):

divya-martye sa tad-rūpo

miśram anyataras tayoḥ

sūcayed vastu-bījaṁ vā-

mukhaṁ pātram athāpi vā

The meaning of āmukha is stated by Śrīla Rūpa Gosvāmī in the Nāṭaka-candrikā:

sūtra-dhāro naṭī brūte

sva-kāryaṁ pratiyuktitaḥ

prastutākṣepicitroktyā

yat tad āmukham īritam

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):

udghātyakaḥ kathodghātaḥ

prayogātiśayas tathā

pravartakāvalagite

pañca prastāvanā-bhidāḥ

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.

Antya-līlā 1.133 - Antya-līlā 1.135

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 <div style="float:left">'''[[Sri Caitanya-caritamrta (1975)|Śrī Caitanya-caritāmṛta (1975)]] - [[CC Antya (1975)|Antya-līlā]] - [[CC Antya 1 (1975)|Chapter 1: Śrīla Rūpa Gosvāmī's Second Meeting With the Lord]]'''</div>
 <div style="float:right">[[File:Go-previous.png|link=CC Antya 1.133 (1975)|Antya-līlā 1.133]] '''[[CC Antya 1.133 (1975)|Antya-līlā 1.133]] - [[CC Antya 1.135 (1975)|Antya-līlā 1.135]]''' [[File:Go-next.png|link=CC Antya 1.135 (1975)|Antya-līlā 1.135]]</div>
+{{CompareVersions|CC|Antya 1.134|CC 1975|CC 1996}}
 {{RandomImage}}
-''Below is the 1996 edition text, ready to be substituted with the 1975 one using the compile form.''
 ==== TEXT 134 ====
 <div class="verse">
-:rāya kahe,—“kon āmukhe pātra-sannidhāna?”
+:rāya kahe,--"kon āmukhe pātra-sannidhāna?"
-:rūpa kahe,—“kāla-sāmye ‘pravartaka’ nāma“
+:rūpa kahe,--"kāla-sāmye 'pravartaka' nāma"
 </div>
@@ Line 25: / Line 24: @@
 <div class="translation">
-Rāmānanda Rāya inquired, “How have you introduced the assembly of the players?”
+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.
-Rūpa Gosvāmī replied, “The players assemble at a suitable time under the heading of pravartaka.
 </div>
@@ Line 35: / Line 33: @@
 In a drama all the actors are called pātra, or players. This is stated by Viśvanātha Kavirāja in the Sāhitya-darpaṇa (6.283):
+:divya-martye sa tad-rūpo
-:divya-martye sa tad-rūpo miśram anyataras tayoḥ
+:miśram anyataras tayoḥ
-:sūcayed vastu-bījaṁ vāmukhaṁ pātram athāpi vā
+:sūcayed vastu-bījaṁ vā-
+:mukhaṁ pātram athāpi vā
 The meaning of āmukha is stated by Śrīla Rūpa Gosvāmī in the Nāṭaka-candrikā:
+:sūtra-dhāro naṭī brūte
+:sva-kāryaṁ pratiyuktitaḥ
+prastutākṣepicitroktyā
+:yat tad āmukham īritam
-:sūtra-dhāro naṭī brūte sva-kāryaṁ pratiyuktitaḥ
+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):
-:prastutākṣepi-citroktyā yat tad āmukham īritam
-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, see verse 136 below. 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):
-:udghātyakaḥ kathodghātaḥ prayogātiśayas tathā
-:pravartakāvalagite pañca prastāvanā-bhidāḥ
-“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.
+:udghātyakaḥ kathodghātaḥ
+:prayogātiśayas tathā
+pravartakāvalagite
+:pañca prastāvanā-bhidāḥ
+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.
 </div>