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."

Thursday, June 06, 2019

रशियन-भाषेचे-तुकाराम: पुश्किन@220....Pushkin Did For the Russian Language What Tukaram Did For Marathi


#AlexanderPushkin220

“….Chekalinsky began to deal, his hands trembling. On the right lay a queen, on the left an ace.

“The ace wins!” said Hermann, and he turned over his card.

“Your queen loses,” Chekalinsky said affably.

Hermann shuddered: indeed, instead of an ace, the queen of spades stood before him. He did not believe his eyes, did not understand how he could have drawn the wrong card.

At that moment it seemed to him that the queen of spades winked and grinned. The extraordinary likeness struck him…

“The old woman!” he cried in horror.

Chekalinsky drew the bank notes to him. Hermann stood motionless. When he left the table, noisy talk sprang up.

“Beautifully punted!” said the players. Chekalinsky shuffled the cards again: the game went on.”
 (Alexander Pushkin, translation by Richard Pevear & Larissa Volokhonsky) 

Nicholas Lezard:

“…The translator of this volume provides a very good introduction which explains why Pushkin is so popular, to this day, in Russia: "Pushkin did for the Russian language what Chaucer did for English – but with a big difference. Pushkin's Russian is totally of today. He created a vibrant, modern language out of several different strands that needed to be woven together, predominantly vernacular Russian, French and Old Church Slavonic." So one might also add that he did for Russian what Dante did for Italian…” 


James Meek, LRB, June 6 2019:
“....In Russia schoolchildren imbibe his writings like morning milk. His phrases and idioms, like Shakespeare’s, are embedded in the modern language. Interviewed by Elif Batuman after the new translation was published, Volokhonsky talked about the expression Pushkin uses in the story ‘The Blizzard’, ‘smertèl’no vlyublenà’, which she and Pevear translate as ‘mortally in love’. When Volokhonsky asked people in Russia if they used the phrase, they said they did, but that they used it because of Pushkin. Krylov, the writer of Aesopian fables, whose unadorned prose Pushkin admired, ‘used it in the 18th century once, and then Pushkin used it, and after that it became a Russian cliché,’ Volokhonsky said. ‘But what do we do?’
Recently a Russian schoolteacher posted on the internet a list of a few of the ways Russian headline-writers have debased the famous line from Pushkin’s poem The Bronze Horseman, about Peter the Great seeking ‘to cut a window through to Europe’ by building St Petersburg:
    A Kind of Window to Europe
    This Window Is Not to Europe at All
    Kazakhstan to Become China’s Window to Europe
    Russian Capital Cuts Window to Holland/New York/South-East Asia
    Patricia Kaas Cuts Window to the Provinces
    Two Windows Cut to Europe
    Small Ventilation Window Cut to Europe
    No Window to Europe, but a Lurid Balcony
Pushkin lies entombed in the vast mausoleum of his reputation....”
 
Artist: Gennady Yepifanov, 1966 for Pushkin's Queen of Spades

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