मेघदूत: "नीचैर्गच्छत्युपरि 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: "… . . 1000 नंतर ज्या प्रकारची संस्कृती रुढ झाली , त्यामध्ये साधारणत्व विश्वात्मकता हे गुण प्राय: लुप्त झाले...आपली संस्कृती अकाली विश्वात्मक साधारणतेला मुकली आहे."

Wednesday, July 14, 2021

बाळ गंगाधर टिळक, जपानची मेजी राज्यघटना आणि १८९५चे स्वराज बिल...How Meiji Constitution Moved B. G. Tilak

Linda Colley, 'The Gun, the Ship, and the Pen: Warfare, Constitutions, and the Making of the Modern World', 2021:  

“…There was yet another massive Asian empire in constitutional flux at this time – British India. Unlike the others, it did not erupt into revolution in the decades immediately before 1914. But levels of activism and resistance increased, and so did the production of innovative constitutional texts. Pressure for change and reform had been growing here since the repression of the Indian Revolt of 1857. Some of the military rebels that year had themselves produced a twelve-point political document, the Dastur-ul Amal, an embryonic constitution. There were also attempts from the 1860s onwards in some of the Indian princely states to draft local written constitutions. But the first major, though unofficial, attempt at writing a full-scale political constitution for the Indian subcontinent as a whole was the Swaraj (or Self-rule) Bill of 1895.

This text seems to have been mainly the work of Bal Gangadhar Tilak, an educationalist and journalist from western India, who was deeply conservative on the matter of women’s rights but influential in his early nationalism, and from 1890 a member of the Indian National Congress. Tilak planned that – were his Swaraj Bill to pass – the resulting act would be called the ‘Constitution of India Act’. Moreover, as the draft introduction to the bill made clear, this legislation was to extend ‘to the whole of India’. Its 110 articles included broad provisions for rights. There was to be freedom of speech and written expression in India. There was to be a right to petition, equality before the law and free state education. And, as in the Meiji constitution, all citizens (which in practice meant men) were to enjoy equal access to public employments, and to have a duty to bear arms if need be.

Indian historians have yet to investigate the echoes between these and other provisions in the Swaraj Bill of 1895 and the Meiji constitution six years earlier. Yet that these should have existed was hardly surprising. The detailed commentary published on Japan’s constitution in 1889 had been issued in an English translation, while the text itself was widely reported on and extracted in the British and Indian press. A highly educated man like Tilak would have found it easy, and, given his interests and ambitions, irresistible, to familiarise himself with a pioneering east Asian example of engineered constitutional reconfiguration, along with British and American political and legal writings.

 Recognising this helps to explain why the Swaraj Bill strives for some of the compromises between modernity, conservatism and tradition that also appealed to the Meiji elite. In Tilak’s plan there was to be a bicameral parliament for the ‘Indian nation’, just as Itō Hirobumi and his allies had sought a bicameral parliament to give expression to a remodelled and reinvigorated Japanese nation. But, as in Meiji Japan, formal sovereign power in Tilak’s reformed India was to be invested in a monarch, in this case, the Empress of India, Britain’s Queen Victoria. Like the emperor in Japan, she was to function in India as a still point in a fast evolving realm….”


 Meiji Constitution promulgation, 1889 by Toyohara Chikanobu