Text 136] Ripa Gosvami’s Meeting with the Lord 69

prastutaksepicitroktya
yat tad dmukham iritam

When Srila Ramananda Raya inquired about the arrangement for introducing the
assembly of players in the drama, Ripa 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-Iila, First Chapter, verse 17.
Srila Bhaktisiddhanta Sarasvat? Thakura says that the introduction, which is tech-
nically called dmukha, may be of five different kinds, according to the Sahitya-dar-

pana (6.288):
udghatyakah kathodghatah
prayogatisayas tatha
pravartakavalagite
patica prastavana-bhidah

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 Ripa Gosvami replied that he had used the in-
troduction called the pravartaka.

TEXT 135

Si PSs STTACAA ATI BIS AASss y sve

aksiptah kala-simyena
pravesah syat pravartakah

SYNONYMS

aksiptah—set in motion; kala-simyena—by a suitable time; pravesah—the en-
trance; syat—should be; pravartakah—named pravartaka.

TRANSLATION

““‘When the entrance of the actors is set in motion by the arrival of a suit-
able time, the entrance is called pravartaka’

PURPORT
This verse is from Nataka-candrika (12) by Srila Rapa Gosvami.
TEXT 136
CHRIS AABAS APTA BIA
ads SMA AAA |
