250 Sti Caitanya-caritamrta [Adi-lila, Ch. 16
dosa-guna-vicdra—ei alpa kari’ méni
kavitva-karane Sakti, téAhd se vokhani
SYNONYMS
dosa-guna-vicadra—therefore to criticize one’s poetry as good or bad; e/—this;
alpa—negligible; kari’—making; mani—| consider; kavitva—poetic ingenuity; karane—
in performing; Sakt/—power; tanha—that; se—we; vakhdni—describe.
TRANSLATION
“Such mistakes should be considered negligible. One should see only how such
poets have displayed their poetic power.
PURPORT
In Srimad-Bhagavatam it is said:
tad-vag-visargo janatdgha-viplavo
yasmin prati-slokam abaddhavaty api
namdny anantasya yaso '#kiténi yat
Scnvanti gayanti grnanti sédhavah
“In explaining the glories of the Lord, inexperienced men may compose poetry
with many faults, but because it contains glorification of the Lord, great personali-
ties read it, hear it and chant it.”’ (@Adg. 1.5.11} Despite its minute literary discrepan-
cies, one must study poetry on the merit of its subject matter. According to Vaignava
philosophy, any literature that glorifies the Lord, whether properly written or not,
is first class. There need be no other considerations. The poetic compositions of
Bhavabhiti, or Srv Kantha, include Mdlati-mddhava, Uttara-carita, Vira-carita and
many other similar Sanskrit dramas, This great poet was born during the time of
Bhojaraja as the son of Nilakantha, a brdhmana. Kalidasa flourished during the time
of Maharaja Vikramaditya, and he became the state poet. He composed some thirty
or forty Sanskrit dramas, including Kurndra-sambhava, Abhijfidna-sakuntala and
Megha-dita. His drama Raghu-vemsa is especially famous. We have already described
Jayadeva in Chapter Thirteen of this Adi-/ild.
TEXT 103
taata-sreg fag a mcs BTAIZ |
Facer aria afhs al BE CSA I S08 1
$aisava-cdpalya kichu nd labe dmdara
Sisyera samdna muni né han toméra
