मेघदूत: "नीचैर्गच्छत्युपरि दशा चक्रनेमिक्रमेण"

समर्थ शिष्या अक्का : "स्वामीच्या कृपाप्रसादे हे सर्व नश्वर आहे असे समजले. पण या नश्वरात तमाशा बहुत आहे."

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.”

C. P. Cavafy: "I’d rather look at things than speak about them."

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);...”

सदानंद रेगे: "... पण तुकारामाची गाथा ज्या धुंदीनं आजपर्यंत वाचली जात होती ती धुंदी माझ्याकडे नाहीय. ती मला येऊच शकत नाही याचं कारण स्वभावतःच मी नास्तिक आहे."

".. त्यामुळं आपण त्या दारिद्र्याच्या अनुभवापलीकडे जाऊच शकत नाही. तुम्ही जर अलीकडची सगळी पुस्तके पाहिलीत...तर त्यांच्यामध्ये त्याच्याखेरीज दुसरं काही नाहीच आहे. म्हणजे माणसांच्या नात्यानात्यांतील जी सूक्ष्मता आहे ती क्वचित चितारलेली तुम्हाला दिसेल. कारण हा जो अनुभव आहे... आपले जे अनुभव आहेत ते ढोबळ प्रकारचे आहेत....."

Kenneth Goldsmith: "In 1969 the conceptual artist Douglas Huebler wrote, “The world is full of objects, more or less interesting; I do not wish to add any more.”1 I’ve come to embrace Huebler’s ideas, though it might be retooled as “The world is full of texts, more or less interesting; I do not wish to add any more.” It seems an appropriate response to a new condition in writing today: faced with an unprecedented amount of available text, the problem is not needing to write more of it; instead, we must learn to negotiate the vast quantity that exists. How I make my way through this thicket of information—how I manage it, how I parse it, how I organize and distribute it—is what distinguishes my writing from yours."

Tom Wolfe: "The first line of the doctors’ Hippocratic oath is ‘First, do no harm.’ And I think for the writers it would be: ‘First, entertain.’"

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

Monday, September 10, 2007

Human Story is NOT a March Toward some Culminating Idea

David Brooks has written a beautiful essay-“ Where History Reigns”-for NYT May 8, 2007.

He writes: “…History, in the British public culture, takes precedence over philosophy, psychology, sociology and economics. And with a few obvious exceptions, British historians have not seen history as the unfolding of abstract processes. They have not seen the human story as the march toward some culminating idea.

Instead they’ve seen history as a hodgepodge of activity — as one damn thing after another. As a result, George Orwell generalised, the English "have a horror of abstract thought, they feel no need for any philosophy or systematic ‘worldview’." This isn’t because they are practical — that’s a national myth, Orwell wrote — it’s just that given the stuttering realities of history, they find systems absurd.

Even philosophers in Britain tend to be sceptics, and emphasise how little we know or can know. Edmund Burke distrusted each individual’s stock of reason and put his faith in the accumulated wisdom of tradition. Adam Smith put his faith in the collective judgment of the market. Michael Oakeshott ridiculed rationalism. Berlin celebrated pluralism, arguing there is no single body of truth.

This scepticism permeates national life, for while the British can be socially deferential, they are rarely intellectually deferential…

The Brits’ historical consciousness means that in moments of crisis they can all swing together and act as one. But in normal times, as Orwell also noted, "the gentleness of the English civilisation is perhaps its most marked characteristic." Americans talk of "happiness," but Brits talk, less transcendentally, of "enjoyment."

American journalists, for example, are spiritually descended from Walter Lippmann. We are always earnestly striving toward some future elevated state. British journalists are spiritually descended from Samuel Johnson. They are conversationalists enjoying the inevitable conflicts that, as W.C. Sellar and R.J. Yeatman put it, pit the wrong but romantic against the right but repugnant.”

I wish we Indians became a little more like Brits in this regard.

Next only to fanatic religionists, we must be craziest hero-worshippers. We put our heroes on pedestals, beyond any reproach.

In the process we forget: Every hero-alive or dead-is human, Has a funny side, Is full of innate contradictions.

Maybe this is one reason our humour is not as robust as it used to be.


Artist: George Price The New Yorker August 9, 1947

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