# Cc. Antya 1.134 > রায় কহে, — “কোন্ আমুখে পাত্র-সন্নিধান ?” > রূপ কহে, — “কালসাম্যে ‘প্রবর্তক’ নাম” ॥১৩৪॥ ## Text > rāya kahe,—"kon āmukhe pātra-sannidhāna?" > rūpa kahe,—"kāla-sāmye 'pravartaka' nāma" ## Synonyms *rāya kahe*—Rāmānanda Rāya says; *kon*—what; *āmukhe*—by introduction; *pātra-sannidhāna*—presence of the players; *rūpa kahe*—Śrīla Rūpa Gosvāmī replies; *kāla-sāmye*—in agreement of time; *pravartaka nāma*—the introduction called *pravartaka.* ## Translation **Rāmānanda Rāya inquired, "How have you introduced the assembly of the players?" Rūpa Gosvāmī replied, "The players assemble at a suitable time under the heading of pravartaka.** ## Purport In a drama all the actors are called *pātra,* or players. This is stated by Viśvanātha Kavirāja in the *Sāhitya-darpaṇa* (6.283): > divya-martye sa tad-rūpo > miśram anyataras tayoḥ > sūcayed vastu-bījaṁ vā- > mukhaṁ pātram athāpi vā The meaning of *āmukha* is stated by Śrīla Rūpa Gosvāmī in the *Nāṭaka-candrikā:* > sūtra-dhāro naṭī brūte > sva-kāryaṁ pratiyuktitaḥ > prastutākṣepicitroktyā > yat tad āmukham īritam When Śrīla Rāmānanda Rāya inquired about the arrangement for introducing the assembly of players in the drama, Rūpa Gosvāmī 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-līlā,* First Chapter, verse 17. Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura says that the introduction, which is technically called *āmukha,* may be of five different kinds, according to the *Sāhitya-darpaṇa* (6.288): > udghātyakaḥ kathodghātaḥ > prayogātiśayas tathā > pravartakāvalagite > pañca prastāvanā-bhidāḥ Introductions may be classified as follows: (1) *udghātyaka,* (2) *kathodghāta,* (3) *prayogātiśaya,* (4) *pravartaka* and (5) *avalagita.* These five kinds of introduction are called *āmukha.* Thus Śrīla Rāmānanda Rāya asked which of the five introductions had been employed, and Śrīla Rūpa Gosvāmī replied that he had used the introduction called the *pravartaka.*