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."

Sunday, July 18, 2021

जीएंची भिंतीतून जाणारा माणूस... Marcel Aymé's Le Passe-muraille

 The passer-through-walls (French: Le Passe-muraille), translated as The Man Who Walked through Walls, The Walker-through-Walls or The Man who Could Walk through Walls, is a short story published by Marcel Aymé in 1941.

मी हे शोधले की ह्या कथेवर आधारित जी. ए. कुलकर्णी यांनी "भिंतीतून जाणारा माणूस" या नावाची कथा लिहली आणि ती सत्यकथेत १९५२ साली प्रसिद्ध झाली. (पहा 'आकाशफुले', आवृत्ती तिसरी, २०१०)

जीए मोघम म्हणतात "मध्यवर्ती कल्पना परकीय", त्याचे एक कारण कदाचित मूळ कथा प्रकशित होऊन अवघी अकरा वर्षें झाली होती. कॉपीराईट् चा गुंता होऊ शकला असता. 

मी  जीएंची कथा वाचली. विनोद अत्यंत बेताचे आहेत. बाकी (मराठीत रूपांतरित) कथा ठीक आहे. 

फ्रेंच कथेचा सारांश विकिपीडिया वर असा आहे :

"A man named Dutilleul lived in Montmartre in 1943. In his forty-third year, he discovered that he possessed the ability to pass effortlessly through walls. In search of a cure he consulted a doctor, who prescribed intensive work and a medicine. Dutilleul made no change to his rather inactive life, however, and a year later still retained his ability to pass through walls, although with no inclination to use it. However, a new manager arrived at his office and began to make his job unbearable. Dutilleul began using his power to annoy his manager, who went mad and was taken away to an asylum. Dutilleul then began to use his ability to burgle banks and jewellery shops. Each time, he would sign a pseudonym "The Lone Wolf" in red chalk at the crime scene, and his criminal exploits soon became the talk of the town. In order to claim the prestige and celebrity status "The Lone Wolf" had gained, Dutilleul allowed himself to be caught in the act. He was put in prison, but used his ability to frustrate his jailers and repeatedly escape.

He then fell in love with a married woman, whose husband went out every night and left her locked in her bedroom. Dutilleul used his power to enter her bedroom and spend the night with her while her husband was away. One morning, Dutilleul had a headache and took two pills he found in the bottom of his drawer. His headache went away, but later that night, as he was leaving his lover's house, he noticed a feeling of resistance as he was passing through the walls. The pills Dutilleul had thought were aspirin were, in fact, the medicine his doctor had prescribed for him a year earlier. As he was passing through the final outer wall of the property, he noticed he was no longer able to move. He realized his mistake too late. The medicine suddenly took effect, and Dutilleul ended up trapped in the wall, where he remains to this day."

जीए यातील अनेक कल्पनांचा वापर करतात (active life, बँकेवरील दरोडे, तरुणीच्या प्रेमात पडणे, शेवटचे गोळी खाणे आणि भिंतीत अडकणे वगैरे), फक्त हे सोडून : "spend the night with her while her husband was away". 

ह्या कथेला चित्र काढले होते दीनानाथ दलालांनी.  (कै. दलाल यांच्या कार्याच्या कॉपीराईट होल्डर्सचे आभार)





चित्रकार : दीनानाथ दलाल

Aymé is so well known in France that a much-photographed statue of him in front of his former home in Montmartre pays hommage to his most famous story. Amazingly, the sculpture was created in 1989 by none other than Jean Marais (1913-1998), the dashing star of Cocteau’s La belle et la bête and Ophée (and thus no stranger to crossing through dimensions himself).

 

 

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