vīthyām eko bhaved aṅkaḥ kaścid eko 'tra kalpyate ākāśa-bhāṣitair uktaiś citrāṁ pratyuktim āśritaḥ
vithyam eko bhaved ahkaḥ
kascid eko 'tra kalpyate
akasa-bhasitair uktais
citram pratyuktim asritaḥ
kascid eko 'tra kalpyate
akasa-bhasitair uktais
citram pratyuktim asritaḥ
The vithi 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 udghatyaka because the player dances on the stage. This term also indicates that the full moon enters the stage. In this case, when the word natata ("dancing on the stage") is linked with the moon, its meaning is obscure, but because the meaning becomes very clear when the word natata is linked with Krsna, this type of introduction is called udghatyaka.
Srila Ramananda Raya used highly technical terms when he discussed this with Srila Rūpa Gosvami. Rūpa Gosvami admitted that Srila Ramananda Raya was a greatly learned scholar of bona fide dramatic composition. Thus although Srila Rūpa Gosvami was quite fit to answer Srila Ramananda Raya's questions, due to his Vaisnava humility he admitted that his words were impudent. Actually both Rūpa Gosvami and Ramananda Raya were scholarly experts in composing poetry and presenting it strictly according to the Sahitya-darpana and other Vedic literatures.
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