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: "… . . 1000 नंतर ज्या प्रकारची संस्कृती रुढ झाली , त्यामध्ये साधारणत्व विश्वात्मकता हे गुण प्राय: लुप्त झाले...आपली संस्कृती अकाली विश्वात्मक साधारणतेला मुकली आहे."

Sunday, August 28, 2016

फौस्टला डोक्यावर घेवून भारतात कोणी नाचले का?...Johann Wolfgang von Goethe

Today August 28 2016 is 268th Birth Anniversary of Johann Wolfgang von Goethe


"...Deep in our heart Care quickly makes her nest,
there she engenders secret sorrows
and, in that cradle restless, destroys all quiet joy;
the masks she wears are always new—
she may appear as house and home, as wife and child,
as fire, water, dagger, poison;
we live in dread of things that do not happen
and keep bemoaning losses that never will occur..." ( Stuart Atkins’ translation of Faust)
 

पु. शि. रेगे (P. S. Rege)'s epigraph for his novella 'Matruka' (मातृका),1978:

'Das Ewig-Weibliche
Zieht uns hinan." 
Faust II
 
("Eternal womanhood
Leads upward and on."  or




"Eternal Womanhood
Draws us on high")

 I heard very early in life that Goethe loved Kālidāsa's 'Abhijñānaśākuntalam' so much that he danced by bearing it over his head.

I have never heard any one in India making such a dance after reading Goethe's 'Faust'.


“...To get a sense of how Johann Wolfgang von Goethe dominates German literature, we would have to imagine a Shakespeare known to the last inch—a Shakespeare squared or cubed. Goethe’s significance is only roughly indicated by the sheer scope of his collected works, which run to a hundred and forty-three volumes. Here is a writer who produced not only some of his language’s greatest plays but hundreds of major poems of all kinds—enough to keep generations of composers supplied with texts for their songs. Now consider that he also wrote three of the most influential novels in European literature, and a series of classic memoirs documenting his childhood and his travels, and essays on scientific subjects ranging from the theory of colors to the morphology of plants.
Then, there are several volumes of his recorded table talk, more than twenty thousand extant letters, and the reminiscences of the many visitors who met him throughout his sixty-year career as one of Europe’s most famous men. Finally, Goethe accomplished all this while simultaneously working as a senior civil servant in the duchy of Weimar, where he was responsible for everything from mining operations to casting actors in the court theatre. If he hadn’t lived from 1749 to 1832, safely into the modern era and the age of print, but had instead flourished when Shakespeare did, there would certainly be scholars today theorizing that the life and work of half a dozen men had been combined under Goethe’s name...”

I also read this about him.

Osman Durrani, TLS, July 13 2016:
"...Raised a Protestant, Goethe retained a soft spot for Luther’s Bible. At heightened moments he tended to recycle its phrases and imagery. Yet many of the outward manifestations of Christianity filled him with loathing. He abhorred the sight of crucifixes and the sound of church bells. By contrast, he inclined sympathetically towards Judaism and Islam, which refrain from depicting the deity in visual terms. For the same reason he condemned the lavish temples of India and, provocatively, praised the general who defaced the colossal statue of Buddha at Bamiyan centuries before it was dynamited by the Taliban. But in the end, it was Faust, Part Two that created the greatest furore. Nothing he wrote met with more invective and derision than its final scene, in which the erstwhile devil’s disciple appears levitating towards some pseudo-Catholic form of absolution in the company of angelic choirs. This seemed to run counter to everything he stood for. Robertson is, understandably, at pains to put a positive spin on the controversial conclusion of the poet’s magnum opus, arguing that his inner motivation had always led Faust to strive productively for something beyond his reach. This enduring commitment to striving, so often taken as the key to Faust’s career, is perhaps best viewed as the inevitable legacy of the Enlightenment. Its value is thrown into question by the multiple murders, brute thuggery, land-grabbing and summary evictions in which he was complicit, along with the invention of capitalism through the creation of paper money and the use of slave labour in a colonial context..." 


Artist:  Johann Tischbein, 1787

p.s फौस्टला डोक्यावर घेवून भारतात कोणी नाचले का? Perhaps the late Vinda Karandikar (विंदा करंदीकर) did because he translated it in Marathi: फाऊस्ट...

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