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."

Tuesday, October 29, 2019

Asterix@60


#Asterrix60

Asterix or The Adventures of Asterix , a series of French comics, first appeared in the Franco-Belgian comics magazine Pilote on 29 October 1959.

Mary Beard, LRB, April 2001:
"When René Goscinny, the creator of Astérix, died in 1977, it was, in the words of one French obituary, ‘as if the Eiffel Tower had fallen down’. The cartoon adventures of the plucky little Gaul holding out against Roman conquest (with the help of a magic potion that could confer a few minutes’ irresistible strength at a single gulp) were as much a defining part of French cultural identity as the most distinctive monument on the Paris skyline. A national survey in 1969 suggested that two-thirds of the population had read at least one of the Astérix books; and by the time of Goscinny’s death total sales in France are said to have amounted to more than 55 million copies, putting Astérix substantially ahead of his main (Belgian) rival, Tintin. The first French space satellite, launched in 1965, was named in his honour (the US later matched this with spaceships called Charlie Brown and Snoopy). There was also, predictably, a more mundane range of Astérix spin-offs, from mustard to washing powder, that flooded the French market in the 1960s and 1970s. The story goes that Goscinny’s partner, Albert Uderzo, once saw three advertisements side by side on a Métro station, for three completely different products each endorsed with equal enthusiasm by Astérix and his cartoon comrades. From then on, they put much tighter limits on the products they would allow their hero to advertise...

..Most critics, on the other hand, have thought that there was a good deal that needed explaining. Some, like the Italian interviewer, have dwelt on the appeal of the David-and-Goliath conflict between the Gauls and the Roman superpower. Or, at least, David and Goliath with a twist: Astérix doesn’t beat brute force by superior cunning and intelligence – he does it thanks to his unexpected access to even bruter force than the enemy can deliver. In adventure after adventure, most of the Gauls’ over-ingenious schemes misfire as badly as the best-laid Roman ones. The reassuring fantasy is that, thanks to the magic potion, Astérix and his friends can mess things up and still win out..."

The star cast
 
courtesy: Wikipedia and the copyright holders 

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