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{{ | [[Category:Sri Caitanya-caritamrta - Adi-lila Chapter 16|C102]] | ||
<div style="float:left">'''[[Sri Caitanya-caritamrta|Śrī Caitanya-caritāmṛta]] - [[CC Adi|Ādi-līlā]] - [[CC Adi 16|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|Ādi-līlā 16.101]] '''[[CC Adi 16.101|Ādi-līlā 16.101]] - [[CC Adi 16.103|Ādi-līlā 16.103]]''' [[File:Go-next.png|link=CC Adi 16.103|Ādi-līlā 16.103]]</div> | |||
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==== TEXT 102 ==== | ==== TEXT 102 ==== | ||
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doṣa-guṇa-vicāra—ei alpa kari’ māni | :doṣa-guṇa-vicāra—ei alpa kari’ māni | ||
kavitva-karaṇe śakti, tāṅhā se vākhāni | :kavitva-karaṇe śakti, tāṅhā se vākhāni | ||
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==== SYNONYMS ==== | ==== SYNONYMS ==== | ||
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doṣa-guṇa- | ''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. | ||
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==== TRANSLATION ==== | ==== TRANSLATION ==== | ||
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“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. | ||
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==== PURPORT ==== | ==== PURPORT ==== | ||
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In Śrīmad-Bhāgavatam ([[SB 1.5.11]]) it is said: | In [[Srimad-Bhagavatam|''Śrīmad-Bhāgavatam'']] ([[SB 1.5.11]]) it is said: | ||
:tad-vāg-visargo janatāgha-viplavo | :tad-vāg-visargo janatāgha-viplavo | ||
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:śṛṇvanti gāyanti gṛṇanti sādhavaḥ | :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 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.'' | ||
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Revision as of 11:29, 21 July 2021
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 (SB 1.5.11) it is said:
- tad-vāg-visargo janatāgha-viplavo
- yasmin prati-ślokam abaddhavaty api
- nāmāny 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.