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.”

W H Auden: "But in my arms till break of day / Let the living creature lie. / Mortal, guilty, but to me/ The entirely beautiful."

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."

Art Spiegelman: "You know words in a way are hitting you on the left side of your brain, music and visual arts hit on the right side of the brain, so the idea is to pummel you, to send you from left brain to right brain and back until you're as unbalanced as I am."

विलास सारंग: "संदर्भ कुठलेही असोत, संस्कृत, इंग्रजी, बुद्धिवादी, तांत्रिक, इतिहासाचे, खगोलशास्त्राचे, आधुनिक पदार्थविज्ञानाचे, शिवकालीन व पेशवाईतील बखरीचे, अगणित ज्ञानक्षेत्रांचे, अशा वैविध्यपूर्ण ज्ञानावर लेखन- विशेषत: कवितालेखन- उभं राहत."

Monday, September 07, 2009

Nimdu Kirana Gharana, namdu Kirana angadi

Bhimsen Joshi once famously told Gangubai Hangal: Nimdu Kirana Gharana, namdu Kirana angadi.

(Yours is Kirana Gharana, mine is kirana shop).

(Frontline, Aug. 01-14, 2009)

This is a very moving example of appreciation of Gangubai Hangal's music and Bhimsen Joshi's self-deprecating sense of humour.

But I have yet to read a better appreciation of music- even any art- than that done of Maujuddin Khan's Bhairavi by Govindrao Tembe.

Read it below. I am unable to translate it into English.

['माझा संगीत व्यासंग', गोविंदराव टेंबे, 1939 ('My Study of Music' by Govindrao Tembe)]

Oh how I wish I were there...I may not have understood the music but I sure would have cried!

Notice how little this writing is influenced by English. This is native brilliance expressed in the language of Laxmibai Tilak.

Another virtue of Tembe's entire writing is the absence of self promotion or 'I'.

In the passage above 'I' enters very reluctantly: "...Mistakenly my hand touched tanpura's string...".

Remember, Tembe himself was a giant in the field of music. N S Phadke has called him the architect of Marathi Natya Sangit. I have still not heard better popular music than his compositions for Sangeet Manapman (1911).

Little wonder M V Dhond gives this piece of Tembe a seat at the literary high table occupied by Jagannath Pandit, Bhavabhuti and above all Dnyaneshwar.

['ज्ञानेश्वरी: स्वरूप, तत्वज्ञान आणि काव्य', म. वा. धोंड, 1980 ('Dnyaneshwari: Swarup, Tatvadnyan Ani Kavya' by M V Dhond)]

Govindrao Tembe (1881-1955)

picture courtsey: Shree. Shankarrao Ghorpade, Kolhapur