मेघदूत: "नीचैर्गच्छत्युपरि च दशा चक्रनेमिक्रमेण"

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.”

Friedrich Nietzsche: “Everybody wants the same, everybody is the same: whoever feels different goes voluntarily into a madhouse.”

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."

Friday, July 13, 2018

तुमको हमदर्द जो पाया तो मुझे याद आया...Roshan@100

#Roshan100

ARTHUR SCHOPENHAUER, ‘The World as Will and Representation’, 1819:

“... The close relation that music has to the true nature of all things can explain the fact that, when music suitable to any scene, action, event, or environment is played, it seems to disclose to us its most secret meaning, and appears to be the most accurate and distinct commentary on it. Moreover, to the man who gives himself up entirely to the impression of a symphony, it is as if he saw all the possible events of life and of the world passing by within himself. Yet if he reflects, he cannot assert any likeness between that piece of music and the things that passed through his mind. For music differs from all the other arts by the fact that it expresses the metaphysical to everything physical in the world. This is the reason why music makes every picture, indeed every scene from real life and from the world, at once appear in enhanced significance, and this is, of course, all the greater, the more analogous its melody is to the inner spirit of the given phenomenon. It is due to this that we are able to set a poem to music as a song, or a perceptive presentation as a pantomime, or both as an opera. Such individual pictures of human life, set to the universal language of music, are never bound to it or correspond to it with absolute necessity, but stand to it only in the relation of an example, chosen at random, to a universal concept...”

माधव मोहोळकर: "... स्वातंत्र्यपूर्व काळातील चौदा-पंधरा वर्ष आणि स्वातंत्र्योत्तर काळातील चौदा-पंधरा वर्ष हा सर्वसाधारणपणे हिंदी चित्रपटसंगीतातला स्वरमाधुर्याचा, 'मेलडी'चा काळ. त्या काळात अनेकांच्या मनात स्वरपहाट उजळली. गाण्याची समज आली. अभिजात संगीतावर आधारलेली सुमधुर गाणी थेट हृदयात , जीवनात घुसली आणि त्यांनी पाहता पाहता सारं भावजीवन व्यापून टाकलं. त्या गाण्यांत स्वरमाधुर्य आणि भावभावना एकजीव होऊन गेलेल्या होत्या. लिहिता लिहिता लक्षात आलं की आपण गाणी नुसती ऐकली नव्हती , आपण गाणीं 'जगलो' होतो... " ('गीतयात्री', १९८७/२००४)

माझा जन्म मोहोळकरांच्या 'मेलडी'च्या काळा नंतरचा. त्यामुळे मी ती गाणी जगलो वगैरे काही नाही. पण माझ्या दृष्टीने संगीताचे मानवी जीवनातील महत्व आजही ह्या कालखंडातील गाण्यांमुळे अधोरेखित होते. आणि त्या कालखंडातील माझ्यासाठी एक अत्यंत महत्वाचे नाव म्हणजे: रोशन (१४/७/२०१७- १६/११/१९६७).

उद्या, १४ जुलै २०१८रोजी त्यांची जन्मशताब्दी.

'ना तो कारवाँ की तलाश है' हे त्यांचं गाण माझ्या आयुष्यातील सर्वात आवडते गाणे आहे. त्याचे शब्द, त्यातले गायक , त्याचे पडद्यावरचे प्रेसेंटेशन आणि त्याचे संगीत मला प्रत्येक वेळी मोहरून टाकतात.




आरती, १९६२

कॉपीराईट : राजश्री प्रॉडक्शन्स

2 comments:

mannab said...

अतिशय समर्पक असे हे रोशन यांचे पुण्यस्मरण ! धन्यवाद.
मंगेश नाबर

Aniruddha G. Kulkarni said...

Thanks Mangesh