CC Antya 1.185 - Revision history

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

2024-02-19T19:26:28Z

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

← Older revision		Revision as of 19:26, 19 February 2024
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	<div class="synonyms">		<div class="synonyms">
	''’udghātyaka’ nāma''—a dancing appearance of the player, technically known as ''udghātyaka''; ''ei āmukha''~~—this~~ is the introduction; ''vīthī aṅga''~~—the~~ part is called ''vīthī''; ''tomāra āge''~~—before~~ you; ''kahi''—I say; ''ihā''~~—this~~; ''dhārṣṭyera taraṅga''—a wave of impudence.		''[//vanipedia.org/wiki/Special:VaniSearch?s=’udghātyaka’&tab=syno_o&ds=1 ’udghātyaka’] [//vanipedia.org/wiki/Special:VaniSearch?s=nāma&tab=syno_o&ds=1 nāma]'' — a dancing appearance of the player, technically known as ''udghātyaka''; ''[//vanipedia.org/wiki/Special:VaniSearch?s=ei&tab=syno_o&ds=1 ei] [//vanipedia.org/wiki/Special:VaniSearch?s=āmukha&tab=syno_o&ds=1 āmukha]'' — this is the introduction; ''[//vanipedia.org/wiki/Special:VaniSearch?s=vīthī&tab=syno_o&ds=1 vīthī] [//vanipedia.org/wiki/Special:VaniSearch?s=aṅga&tab=syno_o&ds=1 aṅga]'' — the part is called ''vīthī''; ''[//vanipedia.org/wiki/Special:VaniSearch?s=tomāra&tab=syno_o&ds=1 tomāra] [//vanipedia.org/wiki/Special:VaniSearch?s=āge&tab=syno_o&ds=1 āge]'' — before you; ''[//vanipedia.org/wiki/Special:VaniSearch?s=kahi&tab=syno_o&ds=1 kahi]'' — I say; ''[//vanipedia.org/wiki/Special:VaniSearch?s=ihā&tab=syno_o&ds=1 ihā]'' — this; ''[//vanipedia.org/wiki/Special:VaniSearch?s=dhārṣṭyera&tab=syno_o&ds=1 dhārṣṭyera] [//vanipedia.org/wiki/Special:VaniSearch?s=taraṅga&tab=syno_o&ds=1 taraṅga]'' — a wave of impudence.
	</div>		</div>

Shaalini at 05:20, 19 September 2021

2021-09-19T05:20:28Z

← Older revision		Revision as of 05:20, 19 September 2021
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	{{~~CC_Header~~\|{{~~PAGENAME}}~~}}		[[Category:Sri Caitanya-caritamrta - Antya-lila Chapter 01\|C185]]
			<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 185 ====		==== TEXT 185 ====

			<div class="verse">
	<div id="~~text~~">		:’udghātyaka’ nāma ei ‘āmukha’—‘vīthī’ aṅga
	’udghātyaka’ nāma ei ‘āmukha’—‘vīthī’ aṅga~~<br>~~		:tomāra āge kahi—ihā dhārṣṭyera taraṅga
	tomāra āge kahi—ihā dhārṣṭyera taraṅga~~<br>~~
	</div>		</div>

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

			<div class="synonyms">
	<div id="synonyms">		''’udghātyaka’ nāma''—a dancing appearance of the player, technically known as ''udghātyaka''; ''ei āmukha''—this is the introduction; ''vīthī aṅga''—the part is called ''vīthī''; ''tomāra āge''—before you; ''kahi''—I say; ''ihā''—this; ''dhārṣṭyera taraṅga''—a wave of impudence.
	’udghātyaka’ ~~nāma—a~~ dancing appearance of the player, technically known as udghātyaka; ei ~~āmukha—this~~ is the introduction; vīthī ~~aṅga—the~~ part is called vīthī; tomāra ~~āge—before~~ you; ~~kahi—I~~ say; ~~ihā—this~~; dhārṣṭyera ~~taraṅga—a~~ wave of impudence.
	</div>		</div>

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

			<div class="translation">
	<div id="translation">		"This introduction is technically called udghātyaka, and the whole scene is called vīthī. You are so expert in dramatic expression that each of my statements before you is like a wave from an ocean of impudence."
	~~“This~~ introduction is technically called udghātyaka, and the whole scene is called vīthī. You are so expert in dramatic expression that each of my statements before you is like a wave from an ocean of impudence.
	</div>		</div>

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	==== PURPORT ====		==== PURPORT ====

			<div class="purport">
			In this connection Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura again quotes the following verse from the ''Sāhitya-darpaṇa'' (6.288):

	~~<div id="purport">~~
	~~In this connection Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura again quotes the following verse from the Sāhitya-darpaṇa (6.288):~~

			:''udghātyakaḥ kathodghātaḥ prayogātiśayas tathā''
			:''pravartakāvalagite pañca prastāvanā-bhidāḥ''

	~~:udghātyakaḥ kathodghātaḥ prayogātiśayas tathā~~
	~~:pravartakāvalagite pañca prastāvanā-bhidāḥ~~

			Thus the technical names for the five kinds of introductory scenes of the drama are listed as ''udghātyaka'', ''kathodghāta'', ''prayogātiśaya'', ''pravartaka'' and ''avalagita''. When Śrīla Rāmānanda Rāya inquired which of these five Śrīla Rūpa Gosvāmī had used to accomplish the technical introduction to his drama ''Lalita-mādhava'', Rūpa Gosvāmī replied that he had used the introduction technically called ''udghātyaka''. According to the ''Bhāratī-vṛtti'', three technical terms used are ''prarocanā'', ''vīthī'' and ''prahasanā''. Thus Rūpa Gosvāmī also mentioned ''vīthī'', which is a technical term for a certain type of expression. According to the ''Sāhitya-darpaṇa'' (6.520):

	Thus the technical names for the five kinds of introductory scenes of the drama are listed as udghātyaka, kathodghāta, prayogātiśaya, pravartaka and avalagita. When Śrīla Rāmānanda Rāya inquired which of these five Śrīla Rūpa Gosvāmī had used to accomplish the technical introduction to his drama Lalita-mādhava, Rūpa Gosvāmī replied that he had used the introduction technically called udghātyaka. According to the Bhāratī-vṛtti, three technical terms used are prarocanā, vīthī and prahasanā. Thus Rūpa Gosvāmī also mentioned vīthī, which is a technical term for a certain type of expression. According to the Sāhitya-darpaṇa (6.520):

			:''vīthyām eko bhaved aṅkaḥ kaścid eko ‘tra kalpyate''
			:''ākāśa-bhāṣitair uktaiś citrāṁ pratyuktim āśritaḥ''

	~~:vīthyām eko bhaved aṅkaḥ kaścid eko ‘tra kalpyate~~		The ''vīthī'' beginning of a drama consists of only one scene. In that scene, one of the heroes enters the stage, and by means of opposing statements uttered by a voice from the sky (offstage), he introduces the abundant conjugal mellow and other mellows to some degree. In the course of the introduction, all the seeds of the play are planted. This introduction is called ''udghātyaka'' because the player dances on the stage. This term also indicates that the full moon enters the stage. In this case, when the word ''naṭatā'' ("dancing on the stage") is linked with the moon, its meaning is obscure, but because the meaning becomes very clear when the word ''naṭatā'' is linked with Kṛṣṇa, this type of introduction is called ''udghātyaka''.
	~~:ākāśa-bhāṣitair uktaiś citrāṁ pratyuktim āśritaḥ~~


	~~The vīthī beginning of~~ a ~~drama consists~~ of ~~only one scene~~. In that ~~scene, one of the heroes enters the stage,~~ and ~~by means of opposing statements uttered by a voice from the sky (offstage), he introduces~~ the ~~abundant conjugal mellow~~ and other mellows to some degree. In the course of the introduction, all the seeds of the play are planted. This introduction is called udghātyaka because the player dances on the stage. This term also indicates that the full moon enters the stage. In this case, when the word naṭatā (“dancing on the stage”) is linked with the moon, its meaning is obscure, but because the meaning becomes very clear when the word naṭatā is linked with Kṛṣṇa, this type of introduction is called udghātyaka.		Śrīla Rāmānanda Rāya used highly technical terms when he discussed this subject with Śrīla Rūpa Gosvāmī. Rūpa Gosvāmī stated that Śrīla Rāmānanda Rāya was a greatly learned scholar of bona fide dramatic composition. Thus although Śrīla Rūpa Gosvāmī was quite fit to answer Śrīla Rāmānanda Rāya’s questions, due to his Vaiṣṇava humility he said that his words were impudent. Actually both Rūpa Gosvāmī and Rāmānanda Rāya were scholarly experts in composing poetry and presenting it strictly according to the ''Sāhitya-darpaṇa'' and other Vedic literatures.
			</div>


	~~Śrīla Rāmānanda Rāya used highly technical terms when he discussed this subject with Śrīla Rūpa Gosvāmī~~. ~~Rūpa Gosvāmī stated that Śrīla Rāmānanda Rāya was a greatly learned scholar of bona fide dramatic composition~~. ~~Thus although Śrīla Rūpa Gosvāmī was quite fit to answer Śrīla Rāmānanda Rāya’s questions, due to his Vaiṣṇava humility he said that his words were impudent~~. ~~Actually both Rūpa Gosvāmī and Rāmānanda Rāya were scholarly experts in composing poetry and presenting it strictly according to the Sāhitya~~-~~darpaṇa and other Vedic literatures~~.		<div style="float:right; clear:both;">[[File:Go-previous.png\|link=CC Antya 1.184\|Antya-līlā 1.184]] '''[[CC Antya 1.184\|Antya-līlā 1.184]] - [[CC Antya 1.186\|Antya-līlā 1.186]]''' [[File:Go-next.png\|link=CC Antya 1.186\|Antya-līlā 1.186]]</div>
	</div>		__NOTOC__
	__NOTOC__~~{{CC_Footer\|{{PAGENAME}}}}~~		__NOEDITSECTION__

Acyuta: 1 revision(s)

2008-03-20T17:22:25Z

1 revision(s)

New page

{{CC_Header|{{PAGENAME}}}}

==== TEXT 185 ====

<div id="text">
’udghātyaka’ nāma ei ‘āmukha’—‘vīthī’ aṅga<br>
tomāra āge kahi—ihā dhārṣṭyera taraṅga<br>
</div>

==== SYNONYMS ====

<div id="synonyms">
’udghātyaka’ nāma—a dancing appearance of the player, technically known as udghātyaka; ei āmukha—this is the introduction; vīthī aṅga—the part is called vīthī; tomāra āge—before you; kahi—I say; ihā—this; dhārṣṭyera taraṅga—a wave of impudence.
</div>

==== TRANSLATION ====

<div id="translation">
“This introduction is technically called udghātyaka, and the whole scene is called vīthī. You are so expert in dramatic expression that each of my statements before you is like a wave from an ocean of impudence.
</div>

==== PURPORT ====

<div id="purport">
In this connection Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura again quotes the following verse from the Sāhitya-darpaṇa (6.288):

:udghātyakaḥ kathodghātaḥ prayogātiśayas tathā
:pravartakāvalagite pañca prastāvanā-bhidāḥ

Thus the technical names for the five kinds of introductory scenes of the drama are listed as udghātyaka, kathodghāta, prayogātiśaya, pravartaka and avalagita. When Śrīla Rāmānanda Rāya inquired which of these five Śrīla Rūpa Gosvāmī had used to accomplish the technical introduction to his drama Lalita-mādhava, Rūpa Gosvāmī replied that he had used the introduction technically called udghātyaka. According to the Bhāratī-vṛtti, three technical terms used are prarocanā, vīthī and prahasanā. Thus Rūpa Gosvāmī also mentioned vīthī, which is a technical term for a certain type of expression. According to the Sāhitya-darpaṇa (6.520):

:vīthyām eko bhaved aṅkaḥ kaścid eko ‘tra kalpyate
:ākāśa-bhāṣitair uktaiś citrāṁ pratyuktim āśritaḥ

The vīthī beginning of a drama consists of only one scene. In that scene, one of the heroes enters the stage, and by means of opposing statements uttered by a voice from the sky (offstage), he introduces the abundant conjugal mellow and other mellows to some degree. In the course of the introduction, all the seeds of the play are planted. This introduction is called udghātyaka because the player dances on the stage. This term also indicates that the full moon enters the stage. In this case, when the word naṭatā (“dancing on the stage”) is linked with the moon, its meaning is obscure, but because the meaning becomes very clear when the word naṭatā is linked with Kṛṣṇa, this type of introduction is called udghātyaka.

Śrīla Rāmānanda Rāya used highly technical terms when he discussed this subject with Śrīla Rūpa Gosvāmī. Rūpa Gosvāmī stated that Śrīla Rāmānanda Rāya was a greatly learned scholar of bona fide dramatic composition. Thus although Śrīla Rūpa Gosvāmī was quite fit to answer Śrīla Rāmānanda Rāya’s questions, due to his Vaiṣṇava humility he said that his words were impudent. Actually both Rūpa Gosvāmī and Rāmānanda Rāya were scholarly experts in composing poetry and presenting it strictly according to the Sāhitya-darpaṇa and other Vedic literatures.
</div>
__NOTOC__{{CC_Footer|{{PAGENAME}}}}