Antya 1.134
TEXT 134
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TEXT
রায় কহে, - "কোন্ আমুখে পাত্র-সন্নিধান ?" রূপ কহে, - "কালসাম্যে 'প্রবর্তক' নাম" ॥ ১৩৪ ॥
raya kahe,-"kon amukhe patra-sannidhana?"
rūpa kahe,-"kala-samye 'pravartaka' nama"
SYNONYMS
raya kahe-Ramananda Raya says; kon-what; amukhe-by introduction; patra-sannidhana-presence of the players; rūpa kahe-Srila Rūpa Gosvami replies; kala-samye-in agreement of time; pravartaka nama-the introduction called pravartaka.
TRANSLATION
Ramananda Raya inquired, "How have you introduced the assembly of the players?" Rūpa Gosvami replied, "The players assemble at a suitable time under the heading of pravartaka.
PURPORT
In a drama all the actors are called patra, or players. This is stated by Visvanatha Kaviraja in the Sahitya-darpana (6.283):
divya-martye sa tad-rūpo
misram anyataras tayoḥ sūcayed vastu-bijam va- mukham patram athapi va The meaning of amukha is stated by Srila Rūpa Gosvami in the Nataka-candrika:
sūtra-dharo nati brūte
sva-karyam pratiyuktitaḥ prastutaksepicitroktya yat tad amukham iritam When Srila Ramananda Raya inquired about the arrangement for introducing the assembly of players in the drama, Rūpa Gosvami 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-lila, First Chapter, verse 17. Srila Bhaktisiddhanta Sarasvati Thakura says that the introduction, which is technically called amukha, may be of five different kinds, according to the Sahitya-darpana (6.288):
udghatyakaḥ kathodghataḥ
prayogatisayas tatha pravartakavalagite panca prastavana-bhidaḥ Introductions may be classified as follows: (1) udghatyaka, (2) kathodghata, (3) prayogatisaya, (4) pravartaka and (5) avalagita. These five kinds of introduction are called amukha. Thus Srila Ramananda Raya asked which of the five introductions had been employed, and Srila Rūpa Gosvami replied that he had used the introduction called the pravartaka.
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