CC Adi 16.54 - Revision history

Elad: Vanibot #0054 edit - transform synonyms into clickable links, which search similar occurrences

2024-02-19T18:33:43Z

Vanibot #0054 edit - transform synonyms into clickable links, which search similar occurrences

← Older revision		Revision as of 18:33, 19 February 2024
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	<div class="synonyms">		<div class="synonyms">
	''pañca''~~—five~~; ''doṣa''~~—faults~~; ''ei śloke''~~—in~~ this verse; ''pañca''~~—five~~; ''alaṅkāra''~~—literary~~ embellishments; ''krame''~~—one~~ after another; ''āmi''—I; ''kahi''~~—say~~; ''śuna''~~—kindly~~ hear; ''karaha''~~—give~~; ''vicāra''~~—judgment~~.		''[//vanipedia.org/wiki/Special:VaniSearch?s=pañca&tab=syno_o&ds=1 pañca]'' — five; ''[//vanipedia.org/wiki/Special:VaniSearch?s=doṣa&tab=syno_o&ds=1 doṣa]'' — faults; ''[//vanipedia.org/wiki/Special:VaniSearch?s=ei&tab=syno_o&ds=1 ei] [//vanipedia.org/wiki/Special:VaniSearch?s=śloke&tab=syno_o&ds=1 śloke]'' — in this verse; ''[//vanipedia.org/wiki/Special:VaniSearch?s=pañca&tab=syno_o&ds=1 pañca]'' — five; ''[//vanipedia.org/wiki/Special:VaniSearch?s=alaṅkāra&tab=syno_o&ds=1 alaṅkāra]'' — literary embellishments; ''[//vanipedia.org/wiki/Special:VaniSearch?s=krame&tab=syno_o&ds=1 krame]'' — one after another; ''[//vanipedia.org/wiki/Special:VaniSearch?s=āmi&tab=syno_o&ds=1 āmi]'' — I; ''[//vanipedia.org/wiki/Special:VaniSearch?s=kahi&tab=syno_o&ds=1 kahi]'' — say; ''[//vanipedia.org/wiki/Special:VaniSearch?s=śuna&tab=syno_o&ds=1 śuna]'' — kindly hear; ''[//vanipedia.org/wiki/Special:VaniSearch?s=karaha&tab=syno_o&ds=1 karaha]'' — give; ''[//vanipedia.org/wiki/Special:VaniSearch?s=vicāra&tab=syno_o&ds=1 vicāra]'' — judgment.
	</div>		</div>

Kritika at 13:35, 20 July 2021

2021-07-20T13:35:18Z

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	{{~~CC_Header~~\|{{~~PAGENAME}}~~}}		[[Category:Sri Caitanya-caritamrta - Adi-lila Chapter 16\|C054]]
			<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>
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	==== TEXT 54 ====		==== TEXT 54 ====

	<div id="~~text~~">		<div class="verse">
	pañca doṣa ei śloke pañca alaṅkāra~~<br>~~		:pañca doṣa ei śloke pañca alaṅkāra
	krame āmi kahi, śuna, karaha vicāra~~<br>~~		:krame āmi kahi, śuna, karaha vicāra
	</div>		</div>

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	==== SYNONYMS ====		==== SYNONYMS ====

	<div id="synonyms">		<div class="synonyms">
	~~pañca—five~~; ~~doṣa—faults~~; ei ~~śloke—in~~ this verse; ~~pañca—five~~; ~~alaṅkāra—literary~~ embellishments; ~~krame—one~~ after another; ~~āmi—I~~; ~~kahi—say~~; ~~śuna—kindly~~ hear; ~~karaha—give~~; ~~vicāra—judgment~~.		''pañca''—five; ''doṣa''—faults; ''ei śloke''—in this verse; ''pañca''—five; ''alaṅkāra''—literary embellishments; ''krame''—one after another; ''āmi''—I; ''kahi''—say; ''śuna''—kindly hear; ''karaha''—give; ''vicāra''—judgment.
	</div>		</div>

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	==== TRANSLATION ====		==== TRANSLATION ====

	<div id="translation">		<div class="translation">
	“My dear sir, in this verse there are five faults and five literary ornaments. I shall state them one after another. Kindly hear Me and then give your judgment.		“My dear sir, in this verse there are five faults and five literary ornaments. I shall state them one after another. Kindly hear Me and then give your judgment.
	</div>		</div>
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	==== PURPORT ====		==== PURPORT ====

	<div id="purport">		<div class="purport">
	In the verse beginning with mahattvaṁ gaṅgāyāḥ there are five literary ornaments and five examples of faulty composition. There are two examples of the fault called avimṛṣṭa-vidheyāṁśa and one example each of the faults viruddha-mati, punar-ukti and bhagna-krama.		In the verse beginning with ''mahattvaṁ gaṅgāyāḥ'' there are five literary ornaments and five examples of faulty composition. There are two examples of the fault called ''avimṛṣṭa-vidheyāṁśa'' and one example each of the faults ''viruddha-mati, punar-ukti'' and ''bhagna-krama''.

	Vimṛṣṭa means “clean,” and vidheyāṁśa means “predicate.” It is a general rule of composition to establish a subject first and then give its predicate. For example, according to Sanskrit grammar if one says, “This man is learned,” his composition is in order. But if one says, “Learned is this man,” the composition is not in order. Such a flaw is called avimṛṣṭa-vidheyāṁśa-doṣa, or the fault of unclean composition. The subject matter to be known of the verse is the glorification of the Ganges, and therefore the word idam (“this”), or what is known, should have been placed before instead of after the glorification. The subject matter already known should be placed before the unknown so that its meaning will not be misconstrued.		''Vimṛṣṭa'' means “clean,” and ''vidheyāṁśa'' means “predicate.” It is a general rule of composition to establish a subject first and then give its predicate. For example, according to Sanskrit grammar if one says, “This man is learned,” his composition is in order. But if one says, “Learned is this man,” the composition is not in order. Such a flaw is called ''avimṛṣṭa-vidheyāṁśa-doṣa'', or the fault of unclean composition. The subject matter to be known of the verse is the glorification of the Ganges, and therefore the word ''idam'' (“this”), or what is known, should have been placed before instead of after the glorification. The subject matter already known should be placed before the unknown so that its meaning will not be misconstrued.

	The second instance of avimṛṣṭa-vidheyāṁśa-doṣa occurs in the words dvitīya-śrī-lakṣmīr iva. In this composition the word dvitīya (“second”) is vidheya, or unknown. Placing the unknown first to make the compound word dvitīya-śrī-lakṣmīr is another fault. The words dvitīya-śrī-lakṣmīr iva were intended to compare the Ganges to the goddess of fortune, but because of this fault the meaning of the compound word was bewildering.		The second instance of ''avimṛṣṭa-vidheyāṁśa-doṣa'' occurs in the words ''dvitīya-śrī-lakṣmīr iva''. In this composition the word ''dvitīya'' (“second”) is ''vidheya'', or unknown. Placing the unknown first to make the compound word ''dvitīya-śrī-lakṣmīr'' is another fault. The words ''dvitīya-śrī-lakṣmīr iva'' were intended to compare the Ganges to the goddess of fortune, but because of this fault the meaning of the compound word was bewildering.

	The third fault is that of viruddha-mati, or contradictory conception, in the words bhavānī-bhartuḥ. The word bhavānī refers to the wife of Bhava, Lord Śiva. But since Bhavānī is already known as the wife of Lord Śiva, to add the word bhartā, “husband,” thus forming a compound meaning “the husband of the wife of Lord Śiva,” is contradictory, for thus it appears as if the wife of Lord Śiva had another husband.		The third fault is that of ''viruddha-mati'', or contradictory conception, in the words ''bhavānī-bhartuḥ''. The word ''bhavānī'' refers to the wife of Bhava, Lord Śiva. But since Bhavānī is already known as the wife of Lord Śiva, to add the word ''bhartā'', “husband,” thus forming a compound meaning “the husband of the wife of Lord Śiva,” is contradictory, for thus it appears as if the wife of Lord Śiva had another husband.

	The fourth fault is punar-ukti, or redundancy, which occurs when the verb vibhavati (“flourishes”), which should have ended the composition, is further qualified by the unnecessary adjective adbhuta-guṇā (“endowed with wonderful qualities”). The fifth fault is bhagna-krama, which means “broken order.” In the first, third and fourth lines there is anuprāsa, or alliteration, created by the sounds ta, ra and bha, but in the second line there is no such anuprāsa, and therefore the order is broken.		The fourth fault is ''punar-ukti'', or redundancy, which occurs when the verb ''vibhavati'' (“flourishes”), which should have ended the composition, is further qualified by the unnecessary adjective ''adbhuta-guṇā'' (“endowed with wonderful qualities”). The fifth fault is ''bhagna-krama,'' which means “broken order.” In the first, third and fourth lines there is ''anuprāsa'', or alliteration, created by the sounds ''ta, ra'' and ''bha'', but in the second line there is no such ''anuprāsa'', and therefore the order is broken.
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Acyuta: 1 revision(s)

2008-03-18T23:15:38Z

1 revision(s)

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==== TEXT 54 ====

<div id="text">
pañca doṣa ei śloke pañca alaṅkāra<br>
krame āmi kahi, śuna, karaha vicāra<br>
</div>

==== SYNONYMS ====

<div id="synonyms">
pañca—five; doṣa—faults; ei śloke—in this verse; pañca—five; alaṅkāra—literary embellishments; krame—one after another; āmi—I; kahi—say; śuna—kindly hear; karaha—give; vicāra—judgment.
</div>

==== TRANSLATION ====

<div id="translation">
“My dear sir, in this verse there are five faults and five literary ornaments. I shall state them one after another. Kindly hear Me and then give your judgment.
</div>

==== PURPORT ====

<div id="purport">
In the verse beginning with mahattvaṁ gaṅgāyāḥ there are five literary ornaments and five examples of faulty composition. There are two examples of the fault called avimṛṣṭa-vidheyāṁśa and one example each of the faults viruddha-mati, punar-ukti and bhagna-krama.

Vimṛṣṭa means “clean,” and vidheyāṁśa means “predicate.” It is a general rule of composition to establish a subject first and then give its predicate. For example, according to Sanskrit grammar if one says, “This man is learned,” his composition is in order. But if one says, “Learned is this man,” the composition is not in order. Such a flaw is called avimṛṣṭa-vidheyāṁśa-doṣa, or the fault of unclean composition. The subject matter to be known of the verse is the glorification of the Ganges, and therefore the word idam (“this”), or what is known, should have been placed before instead of after the glorification. The subject matter already known should be placed before the unknown so that its meaning will not be misconstrued.

The second instance of avimṛṣṭa-vidheyāṁśa-doṣa occurs in the words dvitīya-śrī-lakṣmīr iva. In this composition the word dvitīya (“second”) is vidheya, or unknown. Placing the unknown first to make the compound word dvitīya-śrī-lakṣmīr is another fault. The words dvitīya-śrī-lakṣmīr iva were intended to compare the Ganges to the goddess of fortune, but because of this fault the meaning of the compound word was bewildering.

The third fault is that of viruddha-mati, or contradictory conception, in the words bhavānī-bhartuḥ. The word bhavānī refers to the wife of Bhava, Lord Śiva. But since Bhavānī is already known as the wife of Lord Śiva, to add the word bhartā, “husband,” thus forming a compound meaning “the husband of the wife of Lord Śiva,” is contradictory, for thus it appears as if the wife of Lord Śiva had another husband.

The fourth fault is punar-ukti, or redundancy, which occurs when the verb vibhavati (“flourishes”), which should have ended the composition, is further qualified by the unnecessary adjective adbhuta-guṇā (“endowed with wonderful qualities”). The fifth fault is bhagna-krama, which means “broken order.” In the first, third and fourth lines there is anuprāsa, or alliteration, created by the sounds ta, ra and bha, but in the second line there is no such anuprāsa, and therefore the order is broken.
</div>
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