मेघदूत: "नीचैर्गच्छत्युपरि च दशा चक्रनेमिक्रमेण"

G C Lichtenberg: “It is as if our languages were confounded: when we want a thought, they bring us a word; when we ask for a word, they give us a dash; and when we expect a dash, there comes a piece of bawdy.”

Friedrich Nietzsche: “Everybody wants the same, everybody is the same: whoever feels different goes voluntarily into a madhouse.”

Martin Amis: “Gogol is funny, Tolstoy in his merciless clarity is funny, and Dostoyevsky, funnily enough, is very funny indeed; moreover, the final generation of Russian literature, before it was destroyed by Lenin and Stalin, remained emphatically comic — Bunin, Bely, Bulgakov, Zamyatin. The novel is comic because life is comic (until the inevitable tragedy of the fifth act);...”

Werner Herzog: “We are surrounded by worn-out, banal, useless and exhausted images, limping and dragging themselves behind the rest of our cultural evolution.”

John Gray: "Unlike Schopenhauer, who lamented the human lot, Leopardi believed that the best response to life is laughter. What fascinated Schopenhauer, along with many later writers, was Leopardi’s insistence that illusion is necessary to human happiness."

Justin E.H. Smith: “One should of course take seriously serious efforts to improve society. But when these efforts fail, in whole or in part, it is only humor that offers redemption. So far, human expectations have always been strained, and have always come, give or take a bit, to nothing. In this respect reality itself has the form of a joke, and humor the force of truth.”

विलास सारंग: "… . . 1000 नंतर ज्या प्रकारची संस्कृती रुढ झाली , त्यामध्ये साधारणत्व विश्वात्मकता हे गुण प्राय: लुप्त झाले...आपली संस्कृती अकाली विश्वात्मक साधारणतेला मुकली आहे."

Saturday, March 23, 2019

इतिहासकार आणि चित्रकार....Felipe Fernández-Armesto and Paul Cézanne

Felipe Fernández-Armesto :

 “...When painting a still life, Paul Cézanne used to switch between vantage points, sometimes overnight, sometimes during a single painting session. He was seeking momentary sensations, fleeting perceptions to combine in a single composition. When you see his version of a bowl of apples, for instance, the visible curves of the rim of the bowl look as if they can never meet. Cézanne painted strangely distended melons, because he wanted to capture the way the fruit seems to change shape from different angles. In his assemblages of odds and ends, the distortions of vision, as each object assumes its own perspective, are sometimes baffling, sometimes maddening, always intriguing. He painted the same subjects over and over again, because with every fresh look you see something new, and every retrospect leaves you dissatisfied with the obvious imperfections of partial vision.
The past is like a painting by Cézanne—or like a sculpture in the round, the reality of which no single viewpoint can disclose. I do not say so to occlude reality or subvert truth. On the contrary, I think objective reality (by which I mean, at least, what looks the same by agreement among all honest observers) lies somewhere out there, remote and hard of access—at the summation, perhaps of all possible subjective perspectives. Whenever we shift position, we get another glimpse; then, like Cézanne, we return to our canvas and try to fit it in with all the rest...” 

(‘THE LIMITS OF EVOLUTION: Why evolutionary theory fails to match historical reality’ from ‘A FOOT IN THE RIVER: Why Our Lives Change—and the Limits of Evolution’, 2015)

Paul Cézanne हे किती महान कलावंत होते हे आपल्याला पुन्हा एकदा समजत आणि चित्रकारात आणि चांगल्या इतिहासकारात काय साम्य असायला पाहिजे ते ही समजते. 

वर उल्लेखिलेले "The Basket of Apples", १८९५ हे चित्र पहा:


विकिपीडिया त्याबद्दल सांगत :

“...The piece is often noted for its disjointed perspective. It has been described as a balanced composition due to its unbalanced parts; the tilted bottle, the incline of the basket, and the foreshortened lines of the cookies mesh with the lines of the tablecloth. Additionally, the right side of the tabletop is not in the same plane as the left side, as if the image simultaneously reflects two viewpoints...”


Wednesday, March 20, 2019

मराठीतील एक मोठा कवी पब्लिक डोमेन मध्ये आला....So What!

जानेवारी २ २०१९ रोजी, मी गार्डियन मध्ये 'The drought is over': mass US copyright expiry brings floodof works into public domain' या नावाचा लेख वाचला. केवढी excitement आहे त्या लेखात:

"... “The public domain has been frozen in time for 20 years, and we’re reaching the 20-year thaw,” the center’s director Jennifer Jenkins told the Smithsonian. The magazine predicted that the release’s impact on culture and creativity could be huge, because “we have never seen such a mass entry into the public domain in the digital age”. Brewster Kahle, founder of the Internet Archive, told the Smithsonian: “We have shortchanged a generation. The 20th century is largely missing from the internet.”
The expiration means anyone can publish an edition, to take one example, of Agatha Christie’s The Murder on the Links. That novel, alongside thousands of other books, will become part of the repository of texts on sites such as the Internet Archive and Google Books. Writers will be able to use it as inspiration, creating new works or sequels based on it. Students will be able to quote freely from it; theatre producers will be able to adapt it.
“We can’t predict what uses people are going to make of the work we make available,” Mike Furlough, executive director of HathiTrust, told the magazine. “And that’s what makes it so exciting.”..."


बा सी मर्ढेकर आज २० मार्चला ६३वर्षांपूर्वी, १९५६ साली,  वारले.

Copyright law of India प्रमाणे त्यांच्या साहित्यावरील copyright , माझ्या हिशेबाने, जानेवारी १ २०१७ ला संपला ("lifetime of the author + sixty years from the beginning of the calendar year next following the year in which the author dies" )

तसे असून सुद्धा गेल्या २६ महिन्यात, मी अजून एकही मर्ढेकरांच्या कवितेचे मुद्रण (मौज सोडून) कोणी केल्याचे पाहिले नाही.. त्यांच्या कादंबऱ्यांचे , समीक्षेचे , नाटिकांचे तर सोडाच... 

मराठीतील एक मोठा कवी पब्लिक डोमेन  मध्ये आला ही गोष्ट महत्वाची आहे असे कुणाला वाटल्याचे दिसत नाही.

आता कोणीतरी विलास सारंगांनी केलेला त्यांच्या अनेक कवितांचा इंग्लिश मधील अनुवाद प्रसिद्ध केला पाहिजे

ते असो , पण मर्ढेकर मात्र आता, ज्या पब्लिक डोमेन वर्गात तुकारामाचा नंबर फार मोठ्या फरकाने (साहित्यिक गुणवत्ता) पहिला आहे, अशा वर्गात, मागच्या बाकावर का असेना, जाऊन बसले!

Monday, March 18, 2019

मला त्यात फक्त दोनच मराठी कवी सापडले...The Oxford Companion to Twentieth Century Poetry in English

Robert Nye यांनी लिटररी रिव्यू , मे १९९४ साठी 'The Oxford Companion to Twentieth Century Poetry in English' By


मी ह्या पुस्तकाची २००३ची एडिशन पहिली. मला त्यात फक्त दोनच मराठी कवी सापडले.

KOLATKAR, Arun Balkrishna
(1932– ),
was born in Kolhapur and works as a graphic artist in a Bombay advertising agency. He is one of the few genuinely bilingual poets of contemporary India, writing in both English and Marathi. Although his poems have appeared in a number of anthologies and journals in India, Britain, and the United States, his only two published collections to date are Arun Kolatkarchya Kavita (a selection of his Marathi verse) and a collection of thirty-one linked poems in English, Jejuri (Bombay, 1976). For this volume, he was awarded the Commonwealth Poetry Prize. Notable among his uncollected verse is the long poem, ‘The Boatride’ which was originally published in Arvind Mehrotra's short-lived little magazine, Damn You. It has subsequently been published in R. Parthasarathy's Ten Twentieth Century Indian Poets (Delhi, 1976).
Kolatkar's most sustained achievement, Jejuri, ostensibly records a pilgrimage to the temple of Khandobi at Jejuri, a small town in Western Maharashtra. The poet views Hindu tradition sceptically. His laconic verse borrows something from the medieval bhakti poets of Maharashtra, especially Tukaram (who Kolatkar has translated into English), and juxtaposes this with the relaxed diction of the American Beat poets. An idiosyncratic humour pervades much of Kolatkar's writing; it derives some of its force from viewing commonplace detail at an unaccustomed angle. In the short poems this can produce original, surreal effects. Longer poems, notably ‘Ajamil and the Tigers’, display a skilfully sustained handling of narrative and irony.

CHITRE, Dilip Purushottam
(1938– ),
was born in Baroda, where he had his early education. His family moved to Bombay when he was 13. After taking a degree in English from Bombay University in 1959, he went to Ethiopia for three years to teach in schools, and in the late Sixties and Seventies he was associated with the magazine Quest (now New Quest), for which he wrote essays, reviews, and a regular column of comment. He has edited An Anthology of Marathi Poetry: 1945–65 (Bombay, 1967), doing most of the translations himself, and his translations of Tukaram (seventeenth century) are collected in Says Tuka (New Delhi, 1991). He has also directed a film and held exhibitions of his paintings.
A prolific writer in two languages, Marathi and English, Chitre has created a large body of work, much of it uncollected. Travelling in a Cage (Bombay, 1980), his only book in English so far, contains merely a fraction of his English poems. The title poem was written between 1975 and 1977, when he lived in the United States. Its epigraph, ‘The heart is placed obliquely in the chest’ is from Gray's Anatomy, and a sexual encounter, not always obliquely dealt with, appears to be at the heart of the sequence. Chitre sees language, sex, even death, as a prison or cage, with self-murder, ‘the greatest of all forms’, holding the key to freedom. The book's shorter poems play down his De Profundis side, and employ a plainer, less inwardturning voice and a raconteur's tone.
Travelling in a Cage might be difficult to find, but poems from it are available in two recent anthologies, Indian English Poetry since 1950, ed. Vilas Sarang (Bombay, 1989), and The Oxford India Anthology of Twelve Modern Indian Poets, ed. Arvind Krishna Mehrotra (Delhi, 1992). For a discussion of his work,
see Modern Indian Poetry in English, by (Delhi, 1987).
(सौजन्य: ऑक्सफर्ड प्रकाशन)

अर्थात आता दोघेही वारले आहेत.

मला थोडे आश्चर्य वाटले: केशवसुत, बालकवी, माधव ज्युलियन, बा सी मर्ढेकर, नामदेव ढसाळ , सदानंद रेगे यांचा त्यात समावेश नाही याचे. (याचा प्रमुख अर्थ हा की त्यांचे इंग्लिश मध्ये चांगले अनुवाद झाले असल्यास प्रसिद्ध झाले नाहीयेत. उदा: विलास सारंगांनी केलेला मर्ढेकरांचा अनुवाद)....  


Friday, March 15, 2019

चांदोबा, चांदोबा स्विस बँकेमागे लपलास का?... Chandamama Magazine and Swiss Banks

चांदोबा मासिक हे या ब्लॉग वरती अनेक वेळा आले आहे... पण ते बिझनेस लाईन, मार्च १० २०१९ ला ह्या पद्धतीने येईल असे वाटले नव्हते....


"End of good tale: New owners of Chandamama in dock for Swiss stash... It enthralled children with stories from Indian mythology for decades while narrating virtues of good deeds, but the Chandamama magazine’s new owners are now in the dock for allegedly stashing funds in Swiss banks. Mumbai-based Geodesic Ltd, which acquired the iconic magazine in 2007, and its three directors are being probed by Indian authorities for alleged money laundering and other financial irregularities, and Switzerland has agreed to provide “administrative assistance” (share information) regarding their accounts in its banks...."

चांदोबा ने तहहयात नैतिकता शिकवली... आता वरील केसचा शेवट असा न होवो .... 


कलाकार : चंदामामाचे यशस्वी 

सौजन्य : चंदामामा, सप्टेंबर १९७१