রায কহে,—"প্ররোচনাদি কহ দেখি, শুনি?" রূপ কহে,—"মহাপ্রভুর শ্রবণেচ্ছা জানি"
राय कहे,—"प्ररोचनादि कह देखि, शुनि?" रूप कहे,—"महाप्रभुर श्रवणेच्छा जानि"
rāya kahe,—"prarocanādi kaha dekhi, śuni?" rūpa kahe,—"mahāprabhura śravaṇecchā jāni"
Synonyms
rāya kahe—Śrīla Rāmānanda Rāya says; prarocanādi kaha—please recite the prarocanā; dekhi—I shall see; śuni—and hear; rūpa kahe—Śrīla Rūpa Gosāñi replies; mahāprabhura—of Śrī Caitanya Mahāprabhu; śravaṇa-icchā—desired to hear; jāni—I think..
Translation
Rāmānanda Rāya said, "Please recite the prarocanā portion so that I may hear and examine it." Śrī Rūpa replied, "I think that the desire to hear of Śrī Caitanya Mahāprabhu is prarocanā.
Purport
The method of inducing the audience to become more and more eager to hear by praising the time and place, the hero and the audience is called prarocanā. This is the statement regarding prarocanā in the Nāṭaka-candrikā:
deśa-kāla-kathā-vastu-
sabhyādīnāṁ praśaṁsayā
śrotṝṇām unmukhī-kāraḥ
kathiteyaṁ prarocanā
Similarly the Sāhitya-darpaṇa (6.286) says:
tasyāḥ prarocanā vīthī
tathā prahasanā-mukhe
aṅgānyatronmukhī-kāraḥ
praśaṁsātaḥ prarocanā
Any literature presented in Sanskrit must follow the rules and regulations mentioned in the authoritative reference books. The technical inquiries by Śrīla Rāmānanda Rāya and the replies of Śrīla Rūpa Gosvāmī indicate that both of them were expert and fully conversant with the techniques of writing drama.