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."

Saturday, January 09, 2021

विंदांचे राहून गेलेले: मार्जार दर्शन...To Pursue Meaning is to Chase a Mouse that Isn’t There

कै  विंदा करंदीकर त्यांच्या ज्ञानपीठ पुरस्कार विजेत्या 'अष्टदर्शने ', २००३ या पुस्तकात मांजराचा उल्लेख सुद्धा करत नाहीत.... (त्या पुस्तकाचे अनेक उल्लेख या ब्लॉग वर आहेत, विंदांची स्वाक्षरी असलेली त्याची प्रत सुद्धा माझ्याकडे आहे.)

Sam Leith:

"... Humans are miserable because we try to find meaning in something larger than ourselves – be that systems of philosophy, religious devotion or abstract ideas about the thriving of our species. All of these are, one way or another, unsatisfactory displacement activities: we are, in the cat-loving T. S. Eliot’s phrase, “distracted from distraction by distraction”, constantly trying to push down the terror of the meaningless and inevitable extinction that awaits us.

Cats don’t worry about that stuff, Gray says. They don’t tell stories to themselves about themselves. They accept their own natures, rather than seeking to change or understand them. They live in their bodies and in their sense-worlds, moment to moment. “Unless they are confined within environments that are unnatural for them, cats are never bored. Boredom is fear of being alone with yourself. Cats are happy being themselves, while humans try to be happy by escaping themselves.”

The whole project of philosophy, Gray says in the first few pages, is essentially misconceived: “posing as a cure, philosophy is a symptom of the disease it pretends to remedy”. We are made miserable by our faculty for thinking, in other words, and we try to make ourselves happy with… more thinking. As the title of Boethius’s most influential work expresses it, we look for “consolations” in philosophy, and we look in vain. “Throughout much of its history, philosophy has been a search for truths that are proof against mortality,” Gray writes — from the idea of an eternal realm of Platonic forms onwards — but as Freud was to show, the repressed tends to return...."

Mary Gaitskill , ‘Lost Cat’ from ‘Somebody with a Little Hammer ‘, 2017:

“Last year I lost my cat Gattino. He was very young, at seven months barely an adolescent. He is probably dead, but I don’t know for certain. For two weeks after he disappeared, people claimed to have seen him; I trusted two of the claims because Gattino was blind in one eye, and both people told me that when they’d caught him in their headlights, only one eye shone back. One guy, who said he saw my cat trying to scavenge from a garbage can, said that he’d “looked really thin, like the runt of the litter.” The pathetic words struck my heart. But I heard something besides the words, something in the coarse, vibrant tone of the man’s voice that immediately made another emotional picture of the cat: back arched, face afraid but excited, brimming and ready before he jumped and ran, tail defiant, tensile, and crooked. Afraid but ready; startled by a large male, that’s how he would’ve been. Even if he was weak with hunger. He had guts, this cat….

…During the time I was beginning to lose hope of finding Gattino, I went to Montana to do a reading at a university there. My hotel room overlooked a river, and one day as I was staring out the window, some people with a dog came walking along the riverbank. The dog got excited, and his owner let him off his chain. He went running and made a wild leap into the water, his legs splayed ecstatically wide. I smiled and thought, Gattino; for once, the thought was comforting, not sad. I thought, Even if he is dead, he’s still here in that splayed, ecstatic leap.

This idea was no doubt an illusion, a self-deception. But that dog was not. That dog was real. And so was Gattino.”

ह्या  ब्लॉगच्या उजव्या हाताला दोन नावे येतात : चिंट्या आणि ढोली... पहिले आमच्या कडे मिरजेला जवळजवळ १३ वर्षे असलेला बोका आणि दुसरी आमच्या आयुष्यात काही काळ येऊन गेलेली जीचे आम्ही एक बाळंतपण केले अशी मांजरी... 

चिंट्या आमच्या कडे जेमतेम डोळे उघडलेले अशा अवस्थेत (बहुदा) १९६९ साली आले होते. कै प्रभाकर (दादा) नीळकंठ महाबळांनी ते त्यांच्या ओळखीतील मिशन हॉस्पिटल मध्ये काम करणाऱ्या अमेरिकन डॉक्टर च्या घरातून आणून दिले. (माझ्या  आईच्या आईच्या तोंडात  चिट्या मांजराचे नाव असायचे , त्यावरून मी नाव ठेवले चिंट्या)

चिंट्या आमचे जणू चौथे भावंडच होते. आणि ते तसेच आमच्या कुटुंबाचा भाग झाले होते. त्याच्या बद्दल आम्ही कुणी वेगळा विचार करायचो नाही. त्याच्या खाण्यापिण्याचा आवडी इतर मांजरांपेक्षा वेगळ्या होत्या. त्यातून त्याचे कदाचित अमेरिकनत्व (किमान अंशतः) सिद्ध होत असे. दुधापेक्षा त्याला काकडी, कडधान्ये , मक्याचे कणीस वगैरे जास्त आवडत असे. त्याने किती उंदीर खाल्ले हे आम्हाला समजले नाही. आम्ही ते दृश्य फार कमी वेळा बघितले. 

आमच्या आईने त्याची खूप सेवा केली आणि वडील मिरजेत असताना त्याला शिस्त लावत आणि त्यांना जमेल तेवढी त्याची सेवा करत. आमच्या सारखे त्यानेही माझ्या वडिलांकडून फटके खाल्ले होते. 

चिंट्या बहुतेक त्याच्या आयुष्याच्या उत्तरार्धात अंशतः तरी अंध झाले होते. पण त्याचा दिनक्रम त्यामुळे खूप बदलला असे वाटले नाही. 

 चिंट्या केंव्हातरी हरवले सुद्धा आहे. एकदा तर वडलांच्या त्याच्या वरील रागावण्यामुळे आणि सांगण्यामुळे मीच त्याला थोडा लांब सोडून आलो होतो.  त्यावेळी माझी अवस्था वर उद्धृत केलेल्या Mary Gaitskill यांच्या पुस्तकासारखी झाली होती.

मी १९८१ च्या जुलै मध्ये शिक्षणासाठी मिरज सोडून मद्रासला गेलो. त्यानंतर दोन-तीन महिन्यातच आईने मला चिंट्या घरातून नाहीसे झाल्याचे कळवले. तो  विषय तिने पटकन आटोपला कारण तिला माहित होते की आधीच होमसिक झालेला मी फार कुढत बसेन म्हणून.   

२०२० साली जॉन ग्रे यांनी एक पुस्तक प्रसिद्ध केले: "Feline Philosophy: Cats and the Meaning of Life". मी त्या पुस्तकाची अनेक परीक्षणे वाचली आणि ग्रे यांच्या त्याबद्दलच्या मुलाखती वाचल्या / पहिल्या. आणि ते सगळे करताना चिंट्या आठवत राहिले. 

ग्रे म्हणतात : “But if you live with a cat very closely for a long time — and it takes a long time, because they’re slow to trust, slow to really enter into communication with you — then you can probably imagine how they might philosophise.”  ... अगदी खरे

Artist Anne-Lise Boutin 

ग्रे आणखी म्हणतात :

"I’ve been thinking of writing a book on cats for many years. I’ve always wondered what philosophy would be like if it wasn’t so human-centred. Among all the animals that have cohabited with humans cats resemble us least, so it seemed natural to ask what a feline philosophy would be like. My book is an attempt at answering this question, and tries to imagine how a feline creature equipped with powers of abstraction would think about death, ethics, the nature of love and the meaning of life... 

...Because they are happy. Wanting to improve the world is a displacement of the impulse to improve yourself. But cats are not inwardly divided as humans tend to be, and don’t want to be anything other than what they already are, so the idea of improving the world doesn’t occur to them. If it did, I suspect they would dismiss it as an uninteresting fantasy...."

Wednesday, January 06, 2021

Nero's Death

Mary Beard, TLS, August 2016:
"...For me, the unsettling star of Lust and Crime was a huge painting by the Russian artist, Vasily Smirnov (1858–90) depicting the aftermath of the death of Nero himself – forced to what was always said to be a rather cowardly suicide after some key legions rebelled. It is a wonderful encapsulation not just of death but also of the loss of power: the corpse of Nero lies alone on a bare floor in what is obviously an empty palace, with just three loyal women appearing in the background to take him for burial, all other attendants, soldiers, and trappings of empire gone. The only decoration, tucked away to one side, is the famous ancient statue of a small child either playing with a goose, or else strangling it (the toddler’s intentions are impossible to gauge). The message is clear: the man lying lifeless centre stage had governed Rome with no more responsibility than a small boy..."



Artist: Vasily Smirnov, 1888

Sunday, January 03, 2021

I'm a Cartoon because My Mother too is Dead



Today January 3 2021 is my mother's 15th death anniversary


“...Bambi’s mother, shot. Nemo’s mother, eaten by a barracuda. Lilo’s mother, killed in a car crash. Koda’s mother in Brother Bear, speared. Po’s mother in Kung Fu Panda 2, done in by a power-crazed peacock. Ariel’s mother in the third Little Mermaid, crushed by a pirate ship. Human baby’s mother in Ice Age, chased by a saber-toothed tiger over a waterfall.

I used to take the Peter Pan bus between Washington, D.C., and New York City. The ride was terrifying but the price was right, and you could count on watching a movie on the screen mounted behind the driver’s seat. Mrs. Doubtfire, The Man Without a Face, that kind of thing. After a few trips, I noticed a curious pattern. All the movies on board seemed somehow to feature children lost or adrift, kids who had metaphorically fallen out of their prams. Gee, I thought, Peter Pan Bus Lines sure is keen to reinforce its brand identity. The mothers in the movies were either gone or useless. And the father figures? To die for!

A decade after my Peter Pan years, I began watching a lot of animated children’s movies, both new and old, with my son. The same pattern held, but with a deadly twist. Either the mothers died onscreen, or they were mysteriously disposed of before the movie began: Chicken Little, Aladdin, The Fox and the Hound, Pocahontas, Beauty and the Beast, The Emperor’s New Groove, The Great Mouse Detective, Ratatouille, Barnyard, Despicable Me, Cloudy With a Chance of Meatballs, and, this year, Mr. Peabody and Sherman. So many animated movies. Not a mother in sight...”


Artist: Zohar Lazar, The Atlantic 

Friday, January 01, 2021

He is NOT checking his phone. He is checking his watch. It's 1944!

Artist: Peter Arno, The New Yorker, 1944

He is NOT checking his phone. He is checking his watch. It's 1944!

Thursday, December 31, 2020

Calvin and Hobbes: The Last Great Newspaper Comic

Calvin and Hobbes was last syndicated 25 years ago, on December 31 1995




Artist: Bill Watterson, The New York Times

Tuesday, December 29, 2020

फेसबुकावरील स्मारके...Status of My Facebook and Wikipedia Pages at the end of Year 2020

Starting August 15 2007, I have created a few pages on English Wikipedia: 

Vasant Sarwate, T S Shejwalkar, M V Dhond, D G Godse, Y D Phadke, S D Phadnis, Sadanand Rege, Natyachhatakar Diwakar,  Chintaman Vinayak Joshi.   

Starting June 2011, I have created and maintained a few Facebook pages too. Yearly, I publish stat for them. 

Here it is for 2020.

I do not promote my pages directly or indirectly. I almost never send invitations to like my pages. I almost never tag anyone in the posts I post on them. 

I am quite happy the way the pages have reached all sections of Marathi speaking people across the world using social media. 






Sunday, December 27, 2020

फुटलेला तरी व्हॅन गाॉव आणि सदानंद रेगे...Van Gogh and Sadanand Rege

                                                       "  १- व्हॅन गाॉव

मी
व्हॅन गाॉव् ...
मी
सूर्यफुलांच्या शय्येवर
निजलों  एका वेश्येला घेऊन
अन् दिला तिला
माझाच एक कान कापून ...
            ई ऽ ऽ ऽ ऽ
अखेर हिरव्या सांवल्यांच्या डोहांत
आत्महत्या केली मीं
तिची मी
उन्हाची
पिवळीजर्द ... विवस्त्र किंकाळी ऐकून
... "
(पृष्ठ ११-१२, , 'निवडक सदानंद रेगे', संपादक : वसंत आबाजी डहाके , १९९६-२०१३)

 


 

Wednesday, December 23, 2020

टोकयो स्टोरी आणि नटसम्राट....Why Aren't We Subtle?

#नटसम्राट५०
आज २३ डिसेंबर २०२० ला नटसम्राटच्या पहिल्या प्रयोगाला ५०वर्षे पूर्ण होत आहेत
“Beginning in 1992, Sight and Sound started to poll famed directors about their opinions. People like Martin Scorsese, Francis Ford Coppola, Mike Leigh and Michael Mann. So what is the best movie ever made according to 358 directors polled in 2012? Kane? Vertigo? Perhaps Jean Renoir’s brilliant Rules of the Game, the only movie to appear in the top ten for all seven critics polls? No.

Instead, the top prize goes to Yasujiro Ozu’s Tokyo Story.

It’s a surprising, an enlightened, choice. Ozu’s work is miles away from the flash of Kane and the psychosexual weirdness of Vertigo. Tokyo Story is a gentle, nuanced portrait of a family whose bonds are slowly, inexorably being frayed by the demands of modernization. The movie’s emotional power is restrained and cumulative; by the final credits you’ll be overwhelmed both with a Buddhist sense of the impermanence of all things and a strong urge to call your mother....”

टोकयो स्टोरी मधले काही संवाद
 
< But it surprises me how children change.
Shige used to be a much nicer person before.
She did, didn't she?
When a daughter marries,she becomes a stranger.
Koichi has changed, too. He used to be such a nice boy.
Children never live up to their parents' expectations.
Let's just be happy that they're better than most.>

They're just selfish. Demanding things and then leaving just like that.
That can't be helped. They have work to get back to.
But you have yours too.
- They think only of themselves.
- But Kyoko...
Asking for mementos of mother right after her death! I felt so sorry for poor mother. Even strangers would have been more considerate.
But look, Kyoko, I thought so too when I was your age. But, as children get older, they drift away from their parents.
A woman has her own life, apart from her parents......when she becomes Shige's age.
So she meant no harm, I'm sure. They have their own lives to look after.
I wonder...But I won't ever be like that.  Otherwise what's the point of being part of a family?
You're right. But all children become like that eventually.
You, too?
I may become like that, in spite of myself.
Isn't life disappointing?
Yes, nothing but disappointment.> 
 
'टोकयो स्टोरी' (Tokyo Story, 1953) हा अत्यंत कौतुक झालेला, नावाजलेला आणि माझा अत्यंत आवडता सिनेमा हा बऱ्याच प्रमाणात मोठी झालेली मुले आणि त्यांचे त्यांच्या आई-वडिलांशी संबंध या विषयावरच आहे पण त्याच विषयावरचे मराठी नाटक 'नटसम्राट' , १९७१ हे इतके भडक  आहे कि वाटले आपण मराठीत टोकयो स्टोरी सारखे नाजूक का होऊ शकत नाही?

आणि म्हणूनच मग टोकयो स्टोरी इतके जगभर गाजते पण नटसम्राट भारत/ भारतीय लोक ओलांडून क्वचितच कुठे गेले ते त्यामुळेच का? 
 
(टोकयो स्टोरी चा प्रभाव नटसम्राट वर नक्कीच पडलेला आहे असे मला वाटते.)


Saturday, December 19, 2020

नियती, भास, द ग गोडसे, जीए, हॉर्हे लुईस बोर्हेस...Wyrd, Greek Sense of Fate, the Vastness of the Sea.

नोव्हेंबर २०१७ मध्ये मी हॉर्हे लुईस बोर्हेस (Jorge Luis Borges) यांचे 'Conversations, Volume 2', २०१४ पुस्तक चाळत होतो.  बोर्हेस यांच्या दीर्घ मुलाखतीचे हे पुस्तक आहे.


"...BORGES. And that brings us to the suspicion that the real hero of The Iliad—for us, and perhaps for Homer too—is Hector.
FERRARI. The Trojan.
BORGES. The Trojan, yes, and the title is proof, The Iliad, that is, it refers to Ilion.
FERRARI. To Ilion, that is, to Troy.
BORGES. Of course, because it could have been called the Achillea, like The Odyssey, but no, it’s called The Iliad. Both have a tragic destiny, since Achilles knows that he will never enter Troy, and Hector knows that he’s defending a city that’s condemned to fire and extermination. Both are tragic figures, both struggling, well, Hector for a lost cause and Achilles for what will be a vengeful cause but at a time when he’s already dead, a cause whose triumph he will never see.
FERRARI. One appreciates the Greek sense of fate there.
BORGES. Yes, and then, the vastness of the sea, because in the action of The Iliad we have the battles and also some scenes between the gods . . .
FERRARI. Yes, but it’s very interesting to see the way that each character in The Iliad submits to the fate of the gods, to the Greek sense of fate, we could say.
BORGES. Yes, well, the gods are also subject to it.
FERRARI. In their turn.
BORGES. I think the word that symbolizes fate, in Greek, is equivalent to ‘wyrd’ in Old English. That’s why the three witches at the beginning of Macbeth are also the weird sisters, that is, the fatal sisters or, rather, the Fates. Those sisters are also the Fates and Macbeth is an instrument of the Fates and of his wife’s ambition. How it affects him, well, when she says that he has too much of ‘the milk of human kindness’. That is, one feels that essentially he isn’t cruel, that he’s driven by the prophecy, by his faith in the prophecy which Banquo for his part doesn’t share, because the witches appear, they make their prophecies, they disappear, and Banquo says, ‘The earth has bubbles, as the water has, and these are of them.’ So that he sees in the witches the chance phenomena of the earth, bubbles...."

नियती (destiny) हा शब्द जीएंमुळे खरा माहित झाला... destiny म्हणजे fate (नशीब) नव्हे ....

"Most people use fate and destiny interchangeably, but they aren’t the same. Fate is the life you lead if you never put yourself in the path of greatness. That’s the direction your life moves in without any effort on your part. That’s your fate. Fate is a negative and is defined as the expected result of normal development. Normal development. Never taking a risk is your inevitable fate.
Destiny is your potential waiting to happen. It’s the top tier in the grand scheme of possibilities and where your dreams come true. You have to be willing to take that first step to reach your potential, even if it’s a risk. With great risk comes great failure."

नियती चा वापर भासांनी अतिशय प्रभावीपणे त्यांच्या 'प्रातिमा नाटकात करून घेतला असल्याचे प्रतिपादन द ग गोडसे (D G Godse, A Search शोध द. ग. गोडसेंचा) करतात...

सोबत दोन परिच्छेद - एक जीएंच्या पिंगळावेळ, १९७७ मधील आणि दुसरा गोडसेंच्या 'नांगी असलेले फुलपाखरू', १९८९ मधील....

भासांच्या महानतेची (कदाचित आणखी एक) ओळख करून घेण्यासाठी गोडसेंचा लेख जरूर वाचा... अर्थात नियती चा असा प्रभावी वापर भासांच्या नंतर (गेल्या जवळजवळ 2500 वर्षांत) भारतात कितीजणांनी केला याबद्दल मला शंका आहे ...

जीए म्हणतात तसे भासांच्या रामायणात रामाला सुद्धा नियती पासून सुटका नाही..."देवदेवतांनादेखील नियतीचे नियम" !.....

दोघांच्या साहित्याच्या कॉपीराईट होल्डर्सचे आभार....