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."

Monday, March 18, 2019

मला त्यात फक्त दोनच मराठी कवी सापडले...The Oxford Companion to Twentieth Century Poetry in English

Robert Nye यांनी लिटररी रिव्यू , मे १९९४ साठी 'The Oxford Companion to Twentieth Century Poetry in English' By


मी ह्या पुस्तकाची २००३ची एडिशन पहिली. मला त्यात फक्त दोनच मराठी कवी सापडले.

KOLATKAR, Arun Balkrishna
(1932– ),
was born in Kolhapur and works as a graphic artist in a Bombay advertising agency. He is one of the few genuinely bilingual poets of contemporary India, writing in both English and Marathi. Although his poems have appeared in a number of anthologies and journals in India, Britain, and the United States, his only two published collections to date are Arun Kolatkarchya Kavita (a selection of his Marathi verse) and a collection of thirty-one linked poems in English, Jejuri (Bombay, 1976). For this volume, he was awarded the Commonwealth Poetry Prize. Notable among his uncollected verse is the long poem, ‘The Boatride’ which was originally published in Arvind Mehrotra's short-lived little magazine, Damn You. It has subsequently been published in R. Parthasarathy's Ten Twentieth Century Indian Poets (Delhi, 1976).
Kolatkar's most sustained achievement, Jejuri, ostensibly records a pilgrimage to the temple of Khandobi at Jejuri, a small town in Western Maharashtra. The poet views Hindu tradition sceptically. His laconic verse borrows something from the medieval bhakti poets of Maharashtra, especially Tukaram (who Kolatkar has translated into English), and juxtaposes this with the relaxed diction of the American Beat poets. An idiosyncratic humour pervades much of Kolatkar's writing; it derives some of its force from viewing commonplace detail at an unaccustomed angle. In the short poems this can produce original, surreal effects. Longer poems, notably ‘Ajamil and the Tigers’, display a skilfully sustained handling of narrative and irony.

CHITRE, Dilip Purushottam
(1938– ),
was born in Baroda, where he had his early education. His family moved to Bombay when he was 13. After taking a degree in English from Bombay University in 1959, he went to Ethiopia for three years to teach in schools, and in the late Sixties and Seventies he was associated with the magazine Quest (now New Quest), for which he wrote essays, reviews, and a regular column of comment. He has edited An Anthology of Marathi Poetry: 1945–65 (Bombay, 1967), doing most of the translations himself, and his translations of Tukaram (seventeenth century) are collected in Says Tuka (New Delhi, 1991). He has also directed a film and held exhibitions of his paintings.
A prolific writer in two languages, Marathi and English, Chitre has created a large body of work, much of it uncollected. Travelling in a Cage (Bombay, 1980), his only book in English so far, contains merely a fraction of his English poems. The title poem was written between 1975 and 1977, when he lived in the United States. Its epigraph, ‘The heart is placed obliquely in the chest’ is from Gray's Anatomy, and a sexual encounter, not always obliquely dealt with, appears to be at the heart of the sequence. Chitre sees language, sex, even death, as a prison or cage, with self-murder, ‘the greatest of all forms’, holding the key to freedom. The book's shorter poems play down his De Profundis side, and employ a plainer, less inwardturning voice and a raconteur's tone.
Travelling in a Cage might be difficult to find, but poems from it are available in two recent anthologies, Indian English Poetry since 1950, ed. Vilas Sarang (Bombay, 1989), and The Oxford India Anthology of Twelve Modern Indian Poets, ed. Arvind Krishna Mehrotra (Delhi, 1992). For a discussion of his work,
see Modern Indian Poetry in English, by (Delhi, 1987).
(सौजन्य: ऑक्सफर्ड प्रकाशन)

अर्थात आता दोघेही वारले आहेत.

मला थोडे आश्चर्य वाटले: केशवसुत, बालकवी, माधव ज्युलियन, बा सी मर्ढेकर, नामदेव ढसाळ , सदानंद रेगे यांचा त्यात समावेश नाही याचे. (याचा प्रमुख अर्थ हा की त्यांचे इंग्लिश मध्ये चांगले अनुवाद झाले असल्यास प्रसिद्ध झाले नाहीयेत. उदा: विलास सारंगांनी केलेला मर्ढेकरांचा अनुवाद)....