Launched on Nov 29 2006, now 2,500+ posts...This bilingual blog - 'आन्याची फाटकी पासोडी' in Marathi- is largely a celebration of visual and/or comic ...तुकाराम: "ढेकणासी बाज गड,उतरचढ केवढी"...George Santayana: " Everything in nature is lyrical in its ideal essence, tragic in its fate, and comic in its existence"... श्रीमंत बाळासाहेब पंतप्रतिनिधी : "बहुश्रुतता असल्याशिवाय सुसंस्कृतता नाही"
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, May 04, 2024
अशोकवनात सीता...Bhavanrao Shrinivasrao Pantpratinidhi and Raja Ravi Varma
Wednesday, May 01, 2024
Contribution of Visual Arts to Indus Archeology
On X, in October 2023, I read this post of Harappa.com@Ancient_Indus
"One of the least appreciated things in ancient Indus archaeology is the fine photography done by early expeditions and their unknown Indian photographers. This is from Sahni's Harappa 1923-24 excavations, note how perfectly the lines and trench is arranged, the bricks in the foreground across the (much later) mosque remnant in the top right."
Sunday, April 28, 2024
Bhaiyya@60
माझा भाऊ २४ जून २०२२ रोजी ६० वर्षांचा झाला,
त्याला मी ही २३ जून १९६२ च्या न्यू यॉर्कर च्या मुखपृष्ठाची, पीटर अर्नो यांचे अप्रतिम चित्र असलेली फ्रेम भेट दिली,
त्याच्या मागचा मजकूर सोबतच्या दुसऱ्या चित्रात आहे ...
Thursday, April 25, 2024
फिरकीचा तांब्या...Love of Metal Utensils
Monday, April 22, 2024
Implications of Marathas’ Protracted Resistance to the British Onslaught...A Tale of Two Cities- Mumbai and Kolkata
१९व्या शतकाच्या सुरवातीस पेशव्यांनी आणि त्यांच्या अनेक सरदारांनी इंग्रजांशी लढा चालू ठेवल्याचे किती चांगले परिणाम भविष्यात झाले, त्याबद्दल अमिताव घोष काय म्हणतातते पहा:
"...But even though Calcutta and Bombay were both hubs of the opium trade, the ways in which business was conducted in the two cities were completely different. Calcutta was the capital of British India throughout the nineteenth century, and it had the largest number of white residents of any city in the country. Being the seat of British power its economy was largely controlled by the white business community, which was closely networked with colonial officials in India, many of whom invested their savings with them. There were further circles of exclusion even within the white business community, with a group of interconnected merchants of Scottish origin playing a dominant role. Race and community were thus central features of Calcutta’s economic life, with a few Scottish firms exercising oligopolistic control over some parts of the business world. The Marwaris were their only significant competitors.
In Bombay, on the other hand, businessmen from many different backgrounds were able to operate on more equal terms. This was not a chance outcome: it was, rather, yet another legacy of the Marathas’ protracted resistance to the British onslaught because of which ‘Western India was conquered by the British at a later stage than Eastern India, thus escaping the period of unabashed exploitation which cost so dearly to indigenous merchants in Bengal’. As a result,
[T]he ethnic and communal diversity of Bombay’s business world was striking: it included merchants belonging to many communities of Gujarat, including the Parsis, the Hindu Vanias and Bhatias, the Muslim Bohras, Khojas and Memons as well as businessmen from other provinces of India (Sind, Marwar), Baghdadi Jews (the different branches of the famous Sassoon family), non-British Europeans (the Swiss firm of Volkarts), Japanese (Toyo Menka Kaisha) and Britishers of various origins. The contrast was clear with the increasingly polarized and oligopolistic world of Calcutta where only two communities mattered: the Scots and the Marwaris.
The fact that the indigenous merchants of Bombay participated directly in the export trade, spending long spells in China, also meant that they had much more exposure to the outside world, so when the explosive growth of the drug trade slowed down towards the end of the nineteenth century, they were able to transition into other industries, like textiles, yarn manufacturing, steel, cement, hotels and so on. ‘British Bombay, unlike Calcutta, was never essentially a colonial city,’ writes Gillian Tindall. ‘The real life of Bombay was always lived in … a more cosmopolitan and egalitarian setting; in warehouses … in counting houses, in places where samples of raw cotton or opium or silk or ivory or inlay-work were passed from hand to hand.’
(Chapter 10, 'East and West', 'Smoke and Ashes: A Writer's Journey Through Opium's Hidden Histories', 2023, Amitav Ghosh)
So while Bombay prospered, Calcutta’s economy remained quintessentially colonial, structured around racial and communal hierarchies, and dependent on agricultural products like opium, jute and tea, all wrung out of the soil by underpaid and ill-used workers.
These legacies have lived on...."
त्यात ते मराठी व्यापाऱ्यांचा उल्लेख करत नाहीत पण जगन्नाथ शंकरशेठ (१८०३-१८६५) यांच्या सारखे यशस्वी व्यापारी तर होतेच.
Friday, April 19, 2024
R K Narayan's The Guide and G A Kulkarni's Swami...आर के नारायण यांच्या गाईड आणि जी ए कुलकर्णी यांच्या स्वामी मधील फरक
मला अलीकडे आर के नारायण यांच्या गाईड मध्ये आणि जी ए कुलकर्णी यांच्या स्वामी मध्ये साम्य वाटू लागले आहे...
गाईड, १९६५ या सिनेमातील शैलेंद्र यांनी लिहलेले आणि एस डी बर्मन यांनी गायलेले अप्रतिम गीत पहा...
"वहाँ कौन है तेरा/ मुसाफिर जाएगा कहाँ /दम ले ले घड़ी भर /ये छइयाँ पाएगा कहाँ/ वहाँ कौन है तेरा / मुसाफिर जाएगा कहाँ/ वहाँ कौन है तेरा...
बीत गये दिन, प्यार के पलछिन/ सपना बनी वो रातें / भूल गये वो, तू भी भुला दे/ प्यार की वो मुलाक़ातें - २
सब दूर अन्धेरा, मुसाफ़िर जायेगा कहाँ ...
कोइ भी तेरी, राह न देखे/ नैन बिछाये ना कोई/ दर्द से तेरे, कोई न तड़पा/ आँख किसी की ना रोयी - २
कहे किसको तू मेरा, मुसाफ़िर जायेगा कहाँ ..."
हे आपल्याला तुरुंगात अचानक अडकलेल्या स्वामीच्या मनात आलेल्या विचारांची आठवण करून देतात...
"...Raju asked, “Now you have heard me fully?” like a lawyer who has a misgiving that the judge has been woolgathering.
“Yes, Swami.”
Raju was taken aback at still being addressed as “Swami.” “What do you think of it?”
Velan looked quite pained at having to answer such a question. “I don’t know why you tell me all this, Swami. It’s very kind of you to address at such length your humble servant.”
Every respectful word that this man employed pierced Raju
like a shaft. “He will not leave me alone,” Raju thought with resignation.
“This man will finish me before I know where I am.”..."
वरच्या परिच्छेदात पहा, तो मठातील तळघरात नसेल, पण राजू स्वामी बनत चालला आहे, राजुला त्याचा काय शेवट होणार आहे याची कल्पना नाही, पण आपल्याला आहे आणि आपल्याला त्याचे 'स्वामीकरण' स्पष्ट दिसत आहे...
त्यापुढील काळात राजूची मनस्थिती काहीकाळ स्वामी सारखीच आहे पण पोटभर जेवण मिळत असलेल्या स्वामी ची तडफड शेवटच्या क्षणापर्यंत आहे पण राजू मात्र काही काळात वेगळ्या प्रकारचा स्वामी झाला आहे, त्याला उपोषणामुळे येऊ घातलेल्या मृत्यूसाठी अफूची गरज नाहीये, त्याला मनःशांती कदाचित मिळाली आहे,...
"...
“How long have you been without food now?”
“Ten days.”
“Do you feel weak?”
“Yes.”
“When will you break your fast?”
“Twelfth day.”
“Do you expect to have the rains by then?”
“Why not?”
“Can fasting abolish all wars and bring world peace?”
“Yes.”
“Do you champion fasting for everyone?”
“Yes.”..."
विजय आनंद दिग्दर्शित गाईड चित्रपटात देव आनंद आणि वहिदा रेहमान
Tuesday, April 16, 2024
Our Brave, Brave Ancestors in Ice Age
Cody Cassidy's "How to Survive History: How to Outrun a Tyrannosaurus, Escape Pompeii, Get Off the Titanic, and Survive the Rest of History's Deadliest Catastrophes", 2023 is an exciting book, a thriller.
I refer to chapter on "How to Survive the Ice Age".
I did not understand everything in it such as stuff on carbon dioxide but stuff on mammoth is telling.
Our ancestors had to hunt mammoth for survival. And they were some brave people.
"...The evidence is by now unequivocal: Stone Age steppe cultures not only hunted mammoths, they did so to near exclusion. In modern times, the great woolly mammoth’s close and similarly sized relative, the six-ton African elephant, occasionally kills poachers armed with guns. You’ll have stick and stone. Nevertheless, as you grow hungry on the cold steppe, you may have only one option: launch a small stick with a sharpened rock point at a minibus-sized animal armed with twin eight-foot-long ivory spears.
And yet even before you earn the privilege of placing yourself near the business end of the pissed-off six-ton creature, you’ll have to survive in a climate that is far different, and in many ways far more punishing, than anything you could possibly experience in the modern world...."
"...To hunt mammoths, you need to first craft a spear with a shaft made of wood or bone and a spearhead of chipped flint. You might think you should throw this spear. Don’t. Your target is a six-ton animal with an inch-thick hide. The spear will merely anger it, and you will die. Instead, you need to build a spear-thrower. A spear-thrower—also called an atlatl—is a short, flat stick with a spear-holding hook on one end and a handle on the other. Its simple design belies a deadly effect: By adding another lever to your throwing motion, the spear-thrower turns your mammoth-tickler into a formidable weapon. An experienced thrower can use an atlatl to launch a spear at over 100 miles per hour..."
"...It may seem dangerous to fire at the business end of a six-ton creature—and it is—but unfortunately you don’t have a choice. Mammoth rears—like elephants’—were virtually impenetrable. There’s no use, and in fact it would be extremely ill-advised to fire at a mammoth when its back is turned. It’s the mammoth-hunting equivalent of blindsiding a bully with a spitball. You need to do more damage. You need to face the mammoth, and if you want the spear to carry enough velocity on impact, you need to be uncomfortably close. In other words, the best plan is to launch a weapon that by itself stands very little chance of disabling the animal, and a very high chance of angering it, from a very close range..."
Artist: KES









