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."

Saturday, November 13, 2021

जमेल तेथे तळटीपांचे पैंजण घाला...Annotate the Artists

 बा सी मर्ढेकर:

"शब्दांवर थोडी हुकमत असली आणि लय तोंडवळणी पडली म्हणजे कविता लिहिणं फारसं कठीण नसतं. त्यापलीकडे काही पुढील लिखाणांत आहे किंवा नाही हे वाचकच ठरविणार. त्यांच मत अनुकूल पडल नाही तर लेखकाने योग्य तो बोध घ्यावा. पण 'भूमिके'चा टोप चढवून आणि तळटीपांचे पैंजण घालून नकटीला शारदेच सोंग घ्यायला लावण ह़ा त्यावर तोडगा खास नाही." 
(पृष्ठ: १२०, 'कांही कवितांचे' प्रास्ताविक, मर्ढेकरांची कविता, १९५९-१९७७)

ह्या भूमिकेला दुसर एक अस्तर आहे, आणि ते म्हणजे, मर्ढेकरांचे आवडते टी एस इलियट यांनी त्यांच्या सर्वात महत्वाच्या कवितेला "तळटीपांचे पैंजण" (annotation) घातले होते... 
 
"...The first person to annotate a poem by T.S. Eliot was T.S. Eliot. His notes on The Waste Land (1922) were composed partly so that his 433-line poem could be issued by his American publishers Boni & Liveright as a book, and partly, as he recalled in ‘The Frontiers of Criticism’ (1956), ‘with a view to spiking the guns of critics of my earlier poems who had accused me of plagiarism’...."
 
आता मर्ढेकर म्हणायला मोकळे होते- इलियटने केले पण मी ते कधीच करणार नाही...
 
असो , कोणाचेही , विशेषतः पब्लिक डोमेन मध्ये आलेल्या, कोणत्याही कवी/लेखकाचे लेखन annotate करावे या मताचा मी आहे... 

D, J. Taylor says in The TLS, June 4 2021:
"Why annotate Orwell’s novels? One compelling answer is that we now have the freedom to do so. Orwell died in January 1950, meaning that all six of them came out of copyright in the UK at the start of this year. Transatlantic reprint programmes, based on the ninety-five-years- from-first-publication rule, will have to wait until as late as 2029. Here in Britain, on the other hand, a vault guarded by the seneschals of Messrs Penguin Random House and its predecessor firms these past seventy years has just creaked open, and any old aspiring editor or zealous footnoter can go and wander about inside.

Another is that, in terms of the period detail which can weigh down the most evergreen classic, Orwell’s fiction is beginning to show its age. This is especially true of the four prewar novels, Burmese Days (1934), A Clergyman’s Daughter (1935), Keep the Aspidistra Flying (1936) and Coming Up for Air (1939), each of which comes stuffed with references to Woodbines and De Reszkes (brands of cigarettes), the Boots Circulating Library, Express Dairies, gorblimey hats (a kind of First World War-era forage cap) and Dr Palmer (William Palmer, 1824–56, the celebrated “Rugeley Poisoner”)...."

 Helena Bonham Carter and Richard E. Grant in Keep the Aspidistra Flying, 1997|© Everett Collection Inc/Alamy

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