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.”

C. P. Cavafy: "I’d rather look at things than speak about them."

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);...”

सदानंद रेगे: "... 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....."

Kenneth Goldsmith: "In 1969 the conceptual artist Douglas Huebler wrote, “The world is full of objects, more or less interesting; I do not wish to add any more.”1 I’ve come to embrace Huebler’s ideas, though it might be retooled as “The world is full of texts, more or less interesting; I do not wish to add any more.” It seems an appropriate response to a new condition in writing today: faced with an unprecedented amount of available text, the problem is not needing to write more of it; instead, we must learn to negotiate the vast quantity that exists. How I make my way through this thicket of information—how I manage it, how I parse it, how I organize and distribute it—is what distinguishes my writing from yours."

Tom Wolfe: "The first line of the doctors’ Hippocratic oath is ‘First, do no harm.’ And I think for the writers it would be: ‘First, entertain.’"

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, April 14, 2013

उंच माथ्यावरी चढून कधीतरी बकरी पाला खाते...And then Happens a Rescue Mission!

Loksatta (लोकसत्ता) dated April 14, 2013 quotes a part of B S Mardhekar (बा सी मर्ढेकर) poem on its first page in the story: "अजुनी बकरी पाला खाते.."
 
Initially I was so happy to see Mardhekar quoted on the first page that reads: "अजुनी फुलांना गंध येतो,
अजुनी बकरी पाला खाते..". But then disappointment set in.

First of all,  it‘s not quoted correctly. 

 It should read:

"अजून येतो वास फुलांना
---
अजून बकरी पाला खाते."

 The full stanza reads:

 "अजून येतो वास फुलांना
अजून माती लाल चमकते;
खुरट्या बुंध्यावरी चढून 
अजून बकरी पाला खाते."

A leading Marathi newspaper quoting  an important Marathi poet in a sloppy manner...will Guardian or The New York Times quote Yeats, Auden or Eliot like this?.

Secondly, I don't know how the contributor thought of this poem,  describing a thrilling rescue operation of goats from  great heights, because 'Mardhekar's goat' is grazing on shortish  heights (खुरट्या बुंध्यावरी)!

Finally, for me,  Mardhekar’s poem does quite fit there because his poem is a cry against Korean war that was fought between 1950-1953. Read little more about the poem on this blog here.



courtesy: Loksatta April 14 2013 and unknown photo artist(s)

With apologies to the late poet:

"अजून येतो वास फुलांना
अजून माती लाल चमकते;
उंच माथ्यावरी चढून 
कधीतरी बकरी पाला खाते..." 

 and then happens a rescue mission!

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