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.”
H. P. Lovecraft: "What a man does for pay is of little significance. What he is, as a sensitive instrument responsive to the world's beauty, is everything!"
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: "… 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."
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!