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.”

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);...”

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....."

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."

Wednesday, September 04, 2019

मर्ढेकरांची एक कविता आणि गे कलाकार जे सी लेनडेकर....J.C. Leyendecker and Mardhekar's Coal Man

जे सी लेनडेकर (J.C. Leyendecker) १८७४-१९५१ हे अमेरिकेतील अतिशय गाजलेले चित्रकार. नॉर्मन रॉकवेल यांना त्यांचं कॉपीकॅट म्हटल जायच. 

अमेरिकन पुरुषत्वाची प्रतिमा त्यांनी जनमानसात तयार केली अस म्हटल जात....पण ते स्वत: गे होते... 

"...Over the next few decades, the fictional Arrow Collar Man became an icon, supposedly receiving more fan mail in the 1920s than any male film star of the decade. In an era before the Marlboro Man and Calvin Klein underwear models, the Arrow Collar Man gave Americans an iconography of style and status that would be longed for and lusted after for at least a half century, in which two world wars would come and go but a particular image of masculinity would remain fairly dominant. As Time Magazine once said of the Arrow Collar Man, “All the men wanted to look like him. All the young ladies just plain wanted him.”
Yet though all the ladies wanted him, it was Leyendecker himself who had him. The inspiration for the Arrow Collar Man was Charles Beach, Leyendecker’s main model, muse, and live-in lover. The Cutlers claim that Leyendecker “enjoyed the irony of painting Charles as a prototype, the classic all-American male.” For the time, it would certainly have been subversive and risky to base the country’s most prominent symbol of haughty masculinity on Leyendecker’s own gay lover. Their forbidden love was in everyone’s faces in the ads of one of the country’s most prominent clothing manufacturers and on the covers of America’s favorite conservative magazine, though it remained hidden in plain sight—so much so that few sources even mentioned Leyendecker’s homosexuality until fairly recently. The Arrow Collar Man specifically, and the Leyendecker Man more generally, became the model of style, sophistication, and masculinity...."

(Tyler  Malone,  Lapham's Quarterly, June 2019)

लेनडेकर यांचे हे १९१७ सालचे चित्र पहा:



 हे पाहून मला बा सी मर्ढेकरांच्या ह्या कवितेची आठवण झाली :   

"दण् कट दंडस्नायू जैसे 
लोखंडाचे वळले नाग;
कभिन्न काळ्या मांड्या जैसा
पोलादाचा चिरला साग.

धगधगणाऱ्या भट्टीपुढल्या
प्रकाशांत ही तळपे कांती,
 जशी ओलसर शिसवी-नक्षी
 पॉलिशलेली चांदण्यांत ती.

 टणक्‌ कोळसा पवित्र्यांत हा,
खोरुन घेई पावड्यांत अन्‌
 झोकुनि देई पहा लीलया
 तसाच भट्टिंत अचूक झर् कन्‌.
 ...
.यंत्रयुगांतिल नवनृत्याचा
स्थाणुभाव हा प्रगटे येथें
मनोज्ञ मुद्रा शिल्पित एक
संगमरवरी मांसामध्ये,

-अहा, कोळसेवाला काळा !
नव्या मनूतिल गिरिधर-पुतळा !!"

(४६, पृष्ठ ५८-५९, "कांही कविता", "मर्ढेकरांची कविता", १९५९/१९७७)
  
 

No comments: