Vanibot: Vanibot #0020: VersionCompareLinker - added a link to the Version Compare feature

2020-01-26T20:07:31Z

Vanibot #0020: VersionCompareLinker - added a link to the Version Compare feature

← Older revision		Revision as of 20:07, 26 January 2020
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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: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>
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			{{CompareVersions\|CC\|Antya 1.134\|CC 1975\|CC 1996}}
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	~~''Below is the 1996 edition text, ready to be substituted with the 1975 one using the compile form.''~~

	==== TEXT 134 ====		==== TEXT 134 ====

	<div class="verse">		<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>		</div>

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	<div class="translation">		<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>		</div>

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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):		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:		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>		</div>

Vanibot: Vanibot #0027: CCMirror - Mirror CC's 1996 edition to form a basis for 1975

2019-03-18T04:04:16Z

Vanibot #0027: CCMirror - Mirror CC's 1996 edition to form a basis for 1975

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[[Category:Sri Caitanya-caritamrta (1975) - Antya-lila Chapter 01|C134]]
<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>
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''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?”
:rūpa kahe,—“kāla-sāmye ‘pravartaka’ nāma“
</div>

==== SYNONYMS ====

<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.
</div>

==== TRANSLATION ====

<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.
</div>

==== PURPORT ====

<div class="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 vāmukhaṁ pātram athāpi vā

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

:sūtra-dhāro naṭī brūte sva-kāryaṁ pratiyuktitaḥ
: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.
</div>

<div style="float:right; clear:both;">[[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>
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CC Antya 1.134 (1975) - Revision history

Vanibot: Vanibot #0020: VersionCompareLinker - added a link to the Version Compare feature

Vanibot: Vanibot #0027: CCMirror - Mirror CC's 1996 edition to form a basis for 1975