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."
Tuesday, June 15, 2010
Year 2009-10 is the 100th birth anniversary year of Kalelkar. The June 2010 issue of Lalit (ललित) has an essay on him by Prof. Vidyagauri Tilak (विद्यागौरी टिळक) to mark the occasion.
It is said that the main character- played memorably by Satish Dubhashi (सतीश दुभाषी)- of P L Deshpande's (पु ल देशपांडे) popular play 'Ti Fulrani' (ती फुलराणी) was inspired by Kalelkar.
Sunita Deshpande (सुनीता देशपांडे), P L Deshpande's wife, has written an unusually frank- for inbred Marathi literary culture of second half of 20th century- essay on Kalelkar, throwing light on many aspects of his personal life. (After reading the essay, Kalelkar became more interesting for me.)
In one of the most impressive passages from Kalelkar's book '"bhasha ani sanskriti" (भाषा आणि संस्कृती) he says:
When a class containing Lord Byron (1788 – 1824) was asked to write an essay on the subject of the Last Supper, Byron wrote just one line- 'The water saw its Lord and blushed'...Water in Latin is feminine...etc. etc. (page 47, edition December 1982)
This moved me so much when I first read it almost 25 years ago that I memorised it and kept quoting it in my conversations.
There are a couple of problems with this.
First, it was not the Last Supper but Marriage at Cana.
And second it was not Lord Byron- then a third grade boy- who first said this.
In fact it was Richard Crashaw (c.1613-1649) who wrote:
'The conscious water saw its God, and blushed' (original in Latin: Nympha pudica Deum vidit, et erubuit)
Read an earlier related post here
I feel Kalelkar should have attributed this to Crashaw. But did he know that it was Crashaw who first wrote it?
A lot of stuff written in Marathi has gone unchallenged.
Artist: Paolo Veronese, c 1562-63