मेघदूत: "नीचैर्गच्छत्युपरि च 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.”
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);...”
"... 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....."
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: "… इ. स. 1000 नंतर ज्या प्रकारची संस्कृती रुढ झाली , त्यामध्ये साधारणत्व व विश्वात्मकता हे गुण प्राय: लुप्त झाले...आपली संस्कृती अकाली विश्वात्मक साधारणतेला मुकली आहे."
Sunday, March 21, 2010
Why Vinda Karandikar Didn't Choose David Hume
"'The Pacific' is coming out now, where it represents a war that was of racism and terror. And where it seemed as though the only way to complete one of these battles on one of these small specks of rock in the middle of nowhere was to - I’m sorry - kill them all. And, um, does that sound familiar to what we might be going through today? So it's-- is there anything new under the sun? It seems as if history keeps repeating itself."
I have already mentioned that Vinda (विंदा करंदीकर) did not choose any English philosopher in the list of eight for his book ‘ASHTADARSHANE’ (अष्टदर्शने), 2003.
There I also state the importance of David Hume.
Why was Hume ignored by Vinda?
Here is a possible answer.
"...From Francis Bacon to Nietzsche, Enlightenment thinkers have lauded will over the purposeless life of common humanity. Other animals may live without knowing why, but humans can impress a purpose on their lives. They can raise themselves up from the contingent world and rule over it
There have always been Enlightenment thinkers who do not share this vision. David Hume saw humans as a highly inventive species, but otherwise very like other animals. Through the power of invention they could ease their lot, but they could not overcome it. History was not a tale of progress, but a succession of cycles in which civilisation alternated with barbarism. Hume expected no more than this..." (Straw Dogs: Thoughts on Humans and Other Animals, 2003)
History was not a tale of progress, but a succession of cycles in which civilisation alternated with barbarism.
Marxist / Committed Vinda could have never agreed with this.
This is a great pity because it leaves a large hole in his book. Some one as talented as him should have tried to do justice to Hume in Marathi.
I wonder how long now Hume has to wait.
It may not always be a horse, but history just repeats:
Artist: Richard Decker, The New Yorker, Feb 9 1963