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."

Monday, March 25, 2024

भर्तृहरी यांचे नीतीशतक आणि ओपेनहायमर यांची ट्रिनिटी स्फोटा आधीची मनोवस्था...Did Kai Bird & Martin J. Sherwin Confuse Bhartṛhari's Śatakatraya with Gita?

आपण ऐकत आलो आहोत आणि आता गाजलेल्या सिनेमात (सेक्सच्या नंतर असो वा चाचणी स्फोट पाहिल्यावर असो) पहिले सुद्धा असेल की ओपेनहायमर यांच्यावर गीतेचा प्रभाव किती होता ते, पण त्यांच्यावर अनेक संस्कृत पुस्तकांचा प्रभाव होता. 

Kai Bird & Martin J. Sherwin त्यांच्या 'American Prometheus: The Triumph & Tragedy of J. Robert Oppenheimer', २००५ पुस्तकात म्हणतात;

"... With his facility for languages, it wasn’t long before Robert was reading the Bhagavad-Gita. “It is very easy and quite marvelous,” he wrote Frank. He told friends that this ancient Hindu text—“The Lord’s Song”—was “the most beautiful philosophical song existing in any known tongue.” Ryder gave him a pink-covered copy of the book which found its way onto the bookshelf closest to his desk. Oppie took to passing out copies of the Gita as gifts to his friends...

One of his favorite Sanskrit texts was the Meghaduta, a poem that discusses the geography of love from the laps of naked women to the soaring mountains of the Himalayas. “The Meghaduta I read with Ryder,” he wrote Frank, “with delight, some ease, and great enchantment. . . .”

Bird & Sherwin पुस्तकात पुढे म्हणतात;

"... That evening, in an effort to relieve the tension, Oppie recited for Bush a stanza from the Gita that he had translated from the Sanskrit:

 In battle, in forest, at the precipice in the mountains

On the dark great sea, in the midst of javelins and arrows,

In sleep, in confusion, in the depths of shame,

The good deeds a man has done before defend him..."

हे गीतेतील नसून  भर्तृहरी यांच्या नीतीशतकातले आहे!

 विकिपीडिया म्हणते:
"... Two days before the Trinity test, Oppenheimer expressed his hopes and fears in a quotation from Bhartṛhari's Śatakatraya:

    In battle, in the forest, at the precipice in the mountains,

    On the dark great sea, in the midst of javelins and arrows,

    In sleep, in confusion, in the depths of shame,

    The good deeds a man has done before defend him."

वने रणे शत्रुजलाग्निमध्ये महार्णवे पर्वतमस्तके वा।
 
सुप्तं प्रमत्तं विषमस्थितं वा  रक्षन्ति पुण्यानि पुराकृतानि।।९७। 
 
( भर्तृहरी यांचे सार्थ नीतीशतक, पृष्ठ ४७)


कलाकार: वसंत सहस्रबुद्धे , वरदा प्रकाशन, १९९४-२०१०
 
It is very clear from following passage that Oppenheimer never confused Bhagavad Gita with Bhartrihari’s Three hundred poems.

In 1960s, "...Oppenheimer received a letter dated 1 February from The Christian Century, a non-denominational magazine, asking him to ‘jot down – almost on impulse’ a list of up to ten books ‘that most shaped your attitudes in your vocation and philosophy of life’. The list he sent them was as follows:

1. Les Fleurs du mal

2. Bhagavad Gita

3. Riemann’s Gesammelte mathematische Werke

4. Theaetetus

5. L’Éducation sentimentale

6. Divina Commedia

7. Bhartrihari’s Three hundred poems

8. ‘The Waste Land’

9. Faraday’s notebooks

10. Hamlet

As an exercise in polymathic showing off, the list is peerless. In just ten titles Oppenheimer has managed to include works of drama, fiction, poetry, mathematics, physics and Hinduism, written in a total of no fewer than six languages: Sanskrit, Greek, Italian, French, German and English..."

(Ray Monk, 'Inside the Centre: The Life of J. Robert Oppenheimer', 2012)

Friday, March 22, 2024

गंगाराम यांचे राजेंद्र केशकर्तनालय आणि ओके हेअर ड्रेसिंग सलून...Our Encounters With Haircutting at Miraj

 सप्टेंबर २०२३, माझा मित्र सतीश कुलकर्णी याने मला मिरजेतील एक फोटो पाठवला. तो सोबत लावला आहे. 

मिरजेच्या एकेकाळच्या मध्यभागी असलेल्या किसान चौकातील एका स्टेज चे पाडणे त्यात सुरु आहे असे वाटते. त्या स्टेजवरून झालेली कित्येक भाषणे आम्ही ऐकली आहेत. मला असे वाटते की बहुदा इंदिरा गांधी सुद्धा तिथे काही काळासाठी आल्या होत्या. 

मोठे करून चित्र पहाल तर तुम्हाला तिथे "ओके हेअर ड्रेसिंग सलून" ही पाटी सुद्धा दिसेल... ते दुकान आमच्या डोळ्यादेखत १९७०च्या उत्तरभागात सुरु झाले आहे. 

त्याबद्दल आणखी थोडी माहिती सांगण्या आधी ह्या ब्लॉगवर पूर्वी दिलेली आमच्या केस कापण्याची कहाणी थोडक्यात पुनः सांगतो.

Until I turned nine or ten, Gangaram Gaikwad would visit our home to give us a crew cut. Later it was our turn to visit him once a month. Gangaram was a dapper looking young man who looked less of a barber and more of a photographer or a tailor. 

Gangaram’s shop, run jointly with his grim looking elder brother, used to be always crowded and, even if it wasn’t, elders always jumped the queue to push us back. I remember some times it used to take hours to get the job done.

But all along Gangaram never stopped smiling, Radio Ceylon hummed and local gossip sizzled. I remember the late Vasant Pawar’s (one of the most talented music director of Marathi film industry who died young) daughter often used to come to the place to chat up with Gaikwad brothers and even play cards occasionally.

For our monthly visit, we were incentivized with a rupee or two to buy peanuts for our return journey but I guess the real incentive was spending time at Gangaram’s shop, listening to adult gossip!

पण गंगाराम यांचे दुकान (राजेंद्र केशकर्तनालय) जुने होते, खूप लहान होते, खुर्च्या लाकडी, सरळ पाठीच्या होत्या... 

माझ्या धाकट्या भावाला  त्याचा कंटाळा आला आणि त्याने 'क्रांतीकारक' पाऊल उचलत, ओके मध्ये जायचे ठरवले. त्याला तिथे गंगाराम मारत होता तो जुना कट टाळून अमिताभ बच्चन करत होते तो कानावरून केस येणारा , 'डिप्लोमा' कट मारून घ्यायचा होता. 

ओके त्यावेळी नुकतेच सुरु झाले होते... प्रशस्त, पॉश , फ्लुरोसंट ट्यूब, मोठे आरसे आणि, अलीकडे सगळ्या सलून मध्ये असणाऱ्या, फोमच्या फिरत्या खुर्च्या तिथे होत्या... पैसे ही जास्त होते... त्याचे मालक अक्कडबाज मिशा असलेले गृहस्थ होते जे बहुतेक सांगत असत की ते मुंबईत व्यवसाय करून मिरजेत परत आले आहेत.... 

 मी तिथे काही महिने गेलो आणि पुन्हा गंगाराम कडे परतलो, माझा भाऊ ओके मध्येच जात राहिला... 

 ह्याच विषयावर  ओरहान पामुक यांच्या “Other Colours: Essays and a Story”, १९९९ ह्या पुस्तकातील एक उतारा वाचा

  “…When I was a boy waiting my turn at the barber shop, flicking through the pages of Vulture, stopping now and again to study locally drawn caricatures of citizens aghast at the prices of things, enjoying jokes about bosses and their secretaries, stories by the popular humorist Aziz Nesin, and cartoons lifted from western magazines, my ears were always alert to the conversations around me. Of course the topic discussed at the greatest length was football and the football pools. Some, like Toto, the head barber, would, as he moved among the three customers in the three chairs, offer up his thoughts on boxing or the horses, which he played from time to time. His barber shop, which bore the fanciful name Venus, was at the end of the passageway across the street from our house in Nisantasi. Toto was a tired and sulky man with white hair, and the other of the two older owners was irritable and bald, while the third owner was in his 40s and sported a thin Douglas Fairbanks moustache. I remember he was less interested in chatting with his customers about high prices, new shops in the neighbourhood, singers and stars of the day or domestic politics than he was in discussing international affairs and the state of the world…

… Once, after a customer had had his shave, taken off his apron, allowed the boy to comb his hair, given out his tips, and left the shop, the Fairbanks moustache-sporting owner, who had shown him such courtesy and deference only moments earlier, began to curse this man's mother and his wife: this was how I discovered that the adult world was populated by duplicitous types whose anger was deeper than anything I had known in my child's world. At the barber shops of my childhood, they used scissors, huge clippers they would angrily toss away when they didn't cut well, combs, cotton balls to keep hair out of the ears, cologne, powder and, for the grown-ups, cutthroat razors, shaving cream, shaving combs and white aprons. Today, apart from a handful of electric appliances - like the hair dryer - the tools have not changed much, and this must remind us that though Istanbul writers have never recorded their traditions, these barbers (who have been using these tools for centuries, gossiping as they work) must have been speaking in the same way for just as long…

Barbers also performed circumcisions and other small surgical procedures, some in their coffee houses and others in separate establishments: this gave them a central importance in Istanbul society..

That was when I understood that a barber who shaves you in silence, without drawing a word from your mouth or sharing any neighbourhood or political gossip, and cursing no one, is not a barber at all.“


 किसान चौक, मिरज , सप्टेंबर २०२३

Wednesday, March 20, 2024

बा सी मर्ढेकरांना जाऊन ६८ वर्षें झाली...I Remember Mardhekar's Poetry First

 आज बा सी मर्ढेकरांना जाऊन ६८ वर्षें झाली. माझ्या बाबतीतमर्ढेकरांचे वैशिष्ट्य म्हणजे कोणत्याही परिस्थितीत मला  कवी म्हणून पहिले ते आठवतात. 

आम्ही डिसेंबर २०२३ मध्ये कोल्हापूर जवळच्या सिद्धगिरी ग्रामजीवन म्युझियम (कणेरी मठ) मध्ये गेलो होतो. तिथले सोबतचे दृश्य पाहून मर्ढेकर आठवले. 


"अजून येतो वास फुलांना

अजून माती लाल चमकते;

खुरट्या बुंध्यावरी चढून 

अजून बकरी पाला खाते.'

..."

(३२, पृष्ठ १०२, मर्ढेकरांची कविता, १९५९-१९७७)

 

Monday, March 18, 2024

The Thief of Bagdad@100...Brilliance of Douglas Fairbanks

 


 

Floats like a butterfly . . . Fairbanks did the vast majority of his stunts himself.

Fairbanks was such a smart guy, read what he thought about creating sets for the movie:

"A special problem that faced us for The Thief of Bagdad was my desire that a dream city should not look too well anchored on its foundations. It is easy enough to make a thing fantastic and unreal, but I wanted it to seem light in addition. By using a somewhat weird design, by painting trees and branches black even when we had real ones, by the use of light backgrounds instead of the customary dark ones which are thought to bring out the figures more clearly, by confining our colors to gray, gold, silver, black and white for everything except the actual costumes, we obtained an unusual effect; but sets built on the ground will look as if they were.

To get away from this solidity, we painted our buildings darker at the top than at bottom. This seemed to make them less solid and heavy at the bottom. We also built upon a highly polished black floor that had reflections. The vertical line of a house meets the horizontal line of the ground and ends there. Our polished floor reflects the building lines and lifts our city. And this black floor caused considerable extra work. There was endless brushing and polishing week after week."

मी हा १९२४ सालचा जबरदस्त  सिनेमा अजून बघितला नाहीये पण मला हे नाव माहित व्हायचे कारण आम्ही मिरजेत देवल टॉकीज ला बघितलेला १९६९ सालचा दारा सिंग यांचा त्याच नावाचा सिनेमा जो मला अजून थोडा थोडा आठवतो..... 



Wednesday, March 13, 2024

G. A. Kulkarni, Henry van Dyke...जी. ए. कुलकर्णी आणि हेन्री व्हॅन डाईक

 

हे पूर्वी इथे दिले असेल.. पण काहीजणांना कदाचित नव्याने...

जीएंनी 'पिंगळावेळ' मधील यात्रिक ही जबरदस्त अशी रूपक कथा लिहण्या आधी, त्याच नावाची अनुवादीत कथा वाङ्मयशोभाच्या ऑक्टोबर १९६०च्या अंकात प्रसिद्ध केली होती... 
 
मूळ लघुकादंबरी हेन्री व्हॅन डाईक (१८५२-१९३३) यांची आहे, तिचे मूळचे नाव आहे 'The Story of the Other Wise Man', 1895. 
 
जीएंच्या कथेसोबत हेन्री व्हॅन डाईक यांचे नाव प्रसिद्ध करण्यात आले नव्हते आणि त्यांच्या प्रति कृतज्ञता सुद्धा व्यक्त करण्यात आली नव्हती. 
 
पुरषोत्तम धाक्रस 'आकाशफुले : जी. ए. कुलकर्णी', तिसरी आवृत्ती ', २०१० ह्या पुस्तकाच्या "'सिंहा' वलोकन" मध्ये लिहतात:
"...'यात्रिक'.... हे केवळ अनुवाद आहेत एवढेच कळते. मूळ कथा कोणाच्या वगैरे काहीच आढळत नाही..."
 
त्या कथेच्या पहिल्या पानाचा फोटो सोबत. कृतज्ञता: वाङ्मयशोभा आणि जी ए कुलकर्णी यांच्या वाङ्मयाचे कॉपीराईट होल्डर्स