# Cc. Antya 1.185 ## Text > 'udghātyaka' nāma ei 'āmukha'—'vīthī' aṅga > tomāra āge kahi—ihā dhārṣṭyera taraṅga ## Synonyms *'udghātyaka'* *nāma*—a dancing appearance of the player, technically known *as udghātyaka*; *ei* *āmukha*—this is the introduction; *vīthī* *aṅga*—the part is called *vīthī*; *tomāra* *āge*—before you; *kahi*—I say; *ihā*—this; *dhārṣṭyera* *taraṅga*—a wave of impudence. ## Translation **"This introduction is technically called udghātyaka, and the whole scene is called vīthī. You are so expert in dramatic expression that each of my statements before you is like a wave from an ocean of impudence.** ## Purport In this connection Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura again quotes the following verse from the *Sāhitya-darpaṇa* (6.288): > udghātyakaḥ kathodghātaḥ > prayogātiśayas tathā > pravartakāvalagite > pañca prastāvanā-bhidāḥ Thus the technical names for the five kinds of introductory scenes of the drama are listed as *udghātyaka, kathodghāta, prayogātiśaya, pravartaka* and *avalagita.* When Śrīla Rāmānanda Rāya inquired which of these five Śrīla Rūpa Gosvāmī had used to accomplish the technical introduction to his drama *Lalita-mādhava,* Rūpa Gosvāmī replied that he had used the introduction technically called *udghātyaka.* According to *Bhāratī-vṛtti,* three technical terms used are *prarocanā, vīthī* and *prahasanā.* Thus Rūpa Gosvāmī also mentioned *vīthī,* which is a technical term for a certain type of expression. According to the *Sāhitya-darpaṇa* (6.520): > vīthyām eko bhaved aṅkaḥ > kaścid eko 'tra kalpyate > ākāśa-bhāṣitair uktaiś > citrāṁ pratyuktim āśritaḥ The *vīthī* 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 *udghātyaka* because the player dances on the stage. This term also indicates that the full moon enters the stage. In this case, when the word *naṭatā* ("dancing on the stage") is linked with the moon, its meaning is obscure, but because the meaning becomes very clear when the word *naṭatā* is linked with Kṛṣṇa, this type of introduction is called *udghātyaka.* Śrīla Rāmānanda Rāya used highly technical terms when he discussed this with Śrīla Rūpa Gosvāmī. Rūpa Gosvāmī admitted that Śrīla Rāmānanda Rāya was a greatly learned scholar of bona fide dramatic composition. Thus although Śrīla Rūpa Gosvāmī was quite fit to answer Śrīla Rāmānanda Rāya's questions, due to his Vaiṣṇava humility he admitted that his words were impudent. Actually both Rūpa Gosvāmī and Rāmānanda Rāya were scholarly experts in composing poetry and presenting it strictly according to the *Sāhitya-darpaṇa* and other Vedic literatures.