CC Antya 1.137: Difference between revisions
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{{ | [[Category:Sri Caitanya-caritamrta - Antya-lila Chapter 01|C137]] | ||
<div style="float:left">'''[[Sri Caitanya-caritamrta|Śrī Caitanya-caritāmṛta]] - [[CC Antya|Antya-līlā]] - [[CC Antya 1|Chapter 1: Śrīla Rūpa Gosvāmī's Second Meeting With the Lord]]'''</div> | |||
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==== TEXT 137 ==== | ==== TEXT 137 ==== | ||
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<div | :rāya kahe,—“prarocanādi kaha dekhi, śuni?” | ||
rāya kahe,—“prarocanādi kaha dekhi, śuni?” | :rūpa kahe,—“mahāprabhura śravaṇecchā jāni“ | ||
rūpa kahe,—“mahāprabhura śravaṇecchā jāni“ | |||
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==== SYNONYMS ==== | ==== SYNONYMS ==== | ||
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<div | ''rāya kahe''—Śrīla Rāmānanda Rāya says; ''prarocanādi kaha''—please recite the ''prarocanā''; ''dekhi''—I shall see; ''śuni''—and hear; ''rūpa kahe''—Śrīla Rūpa Gosāñi replies; ''mahāprabhura''—of Śrī Caitanya Mahāprabhu; ''śravaṇa-icchā''—desire to hear; ''jāni''—I think. | ||
rāya | |||
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==== TRANSLATION ==== | ==== TRANSLATION ==== | ||
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<div | Rāmānanda Rāya said, "Please recite the prarocanā portion so that I may hear and examine it." | ||
Rāmānanda Rāya said, | Śrī Rūpa replied, "I think that Śrī Caitanya Mahāprabhu’s desire to hear is prarocanā. | ||
Śrī Rūpa replied, | |||
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==== PURPORT ==== | ==== PURPORT ==== | ||
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<div | The method of inducing the audience to become more and more eager to hear by praising the time and place, the hero and the audience is called ''prarocanā''. This is the statement regarding ''prarocanā'' in the ''Nāṭaka-candrikā'': | ||
The method of inducing the audience to become more and more eager to hear by praising the time and place, the hero and the audience is called prarocanā. This is the statement regarding prarocanā in the Nāṭaka-candrikā: | |||
:deśa-kāla-kathā-vastu-sabhyādīnāṁ praśaṁsayā | :''deśa-kāla-kathā-vastu-sabhyādīnāṁ praśaṁsayā'' | ||
:śrotṟṇām unmukhī-kāraḥ kathiteyaṁ prarocanā | :''śrotṟṇām unmukhī-kāraḥ kathiteyaṁ prarocanā'' | ||
Similarly, the Sāhitya-darpaṇa (6.286) says: | Similarly, the ''Sāhitya-darpaṇa'' (6.286) says: | ||
:tasyāḥ prarocanā vīthī tathā prahasanā-mukhe | :''tasyāḥ prarocanā vīthī tathā prahasanā-mukhe'' | ||
:aṅgānyatronmukhī-kāraḥ praśaṁsātaḥ prarocanā | :''aṅgānyatronmukhī-kāraḥ praśaṁsātaḥ prarocanā'' | ||
Any literature presented in Sanskrit must follow the rules and regulations mentioned in the authoritative reference books. The technical inquiries by Śrīla Rāmānanda Rāya and the replies of Śrīla Rūpa Gosvāmī indicate that both of them were expert and fully conversant with the techniques of writing drama. | Any literature presented in Sanskrit must follow the rules and regulations mentioned in the authoritative reference books. The technical inquiries by Śrīla Rāmānanda Rāya and the replies of Śrīla Rūpa Gosvāmī indicate that both of them were expert and fully conversant with the techniques of writing drama. | ||
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Revision as of 11:23, 11 September 2021
His Divine Grace
A.C. Bhaktivedanta Swami Prabhupada
A.C. Bhaktivedanta Swami Prabhupada
TEXT 137
- rāya kahe,—“prarocanādi kaha dekhi, śuni?”
- rūpa kahe,—“mahāprabhura śravaṇecchā jāni“
SYNONYMS
rāya kahe—Śrīla Rāmānanda Rāya says; prarocanādi kaha—please recite the prarocanā; dekhi—I shall see; śuni—and hear; rūpa kahe—Śrīla Rūpa Gosāñi replies; mahāprabhura—of Śrī Caitanya Mahāprabhu; śravaṇa-icchā—desire to hear; jāni—I think.
TRANSLATION
Rāmānanda Rāya said, "Please recite the prarocanā portion so that I may hear and examine it." Śrī Rūpa replied, "I think that Śrī Caitanya Mahāprabhu’s desire to hear is prarocanā.
PURPORT
The method of inducing the audience to become more and more eager to hear by praising the time and place, the hero and the audience is called prarocanā. This is the statement regarding prarocanā in the Nāṭaka-candrikā:
- deśa-kāla-kathā-vastu-sabhyādīnāṁ praśaṁsayā
- śrotṟṇām unmukhī-kāraḥ kathiteyaṁ prarocanā
Similarly, the Sāhitya-darpaṇa (6.286) says:
- tasyāḥ prarocanā vīthī tathā prahasanā-mukhe
- aṅgānyatronmukhī-kāraḥ praśaṁsātaḥ prarocanā
Any literature presented in Sanskrit must follow the rules and regulations mentioned in the authoritative reference books. The technical inquiries by Śrīla Rāmānanda Rāya and the replies of Śrīla Rūpa Gosvāmī indicate that both of them were expert and fully conversant with the techniques of writing drama.