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."
Will Self: “To attempt to write seriously is always, I feel, to fail – the disjunction between my beautifully sonorous, accurate and painfully affecting mental content, and the leaden, halting sentences on the page always seems a dreadful falling short. It is this failure – a ceaseless threnody keening through the writing mind – that dominates my working life, just as an overweening sense of not having loved with enough depth or recklessness or tenderness dominates my personal one.”
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."
Saturday, May 01, 2010
Does this ghettoisation also affect the culture? I argue it does.
"The Music Instinct: How Music Works and Why We Can't Do without it" by Philip Ball has been reviewed by a number of publications in recent days.
Guy Dammann says: "...We do not love music because it exercises our brains or makes us more attractive to members of the opposite sex, but because we have lived with it since we came into being: it is entwined in our common and individual consciousness to the extent that, simply put, we would not be ourselves without it. In contemplating the mysteries of music we are also thereby contemplating the mystery of ourselves..." (The Observer, 21 February 2010)
A majority of good music for most Marathi speakers has been Hindi film music. Hindi may or may not be India's 'national language' but for me it surely is a language of soulful music. In happiness and in sadness.
I have rarely NOT cried at the end of watching 'Na To Karvan Ki Talaash Hai'- a great paean of love- from 'Barsaat Ki Raat'(1960).
In one of his numerous letters, G A Kulkarni (जी. ए. कुलकर्णी) dismisses lyricist Shailendra in comparison with G D Madgulkar (ग. दि. माडगूळकर).
G A got this horribly wrong. Madgulkar was a very good lyricist. But Shailendra, if any, was slightly better.
(GA was wrong on many other counts such as Marathi poet-saints, Mahatma Gandhi, popular Hindi cinema...
He keeps mentioning Ingrid Bergman...Who doesn't like Ms. Bergman? But how did he miss my goddesses with forever looks: Nutan, Madhubala, Geeta Bali? Were they any less?)
N S Phadke (ना सी फडके) rued in his essay "Poverty of Romance in New-Theatre" (नवनाट्यांतलं शृंगाराच दारिद्र्य) ['laharee', (लहरी) 1966] how Marathi theatre did not come out with a single new great romantic play since 1920.
I don't recall a single great romantic movie in Marathi.
Let us face it: In the battle of romance, since 1950's, Marathi theatre and cinema lost it to Hindi cinema.
[Marathi poetry has fared much better. Although, it must be said, it never reached the heights reached by its saint-poets earlier as in 'पीक पिकलें प्रेमाचें । सांठवितां गगन टांचें...' (Eknath एकनाथ) or 'mujhse pahli-si muhabbat mere mehboob na mang...' (Faiz Ahmed Faiz)]
Geeta Bali / Ingrid Bergman->
I don't think there is as much great music associated with Ms. Bergman as Ms. Bali!