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, April 27, 2026

For Proust, Monet’s Lilies Symbolized the Transformation of Life into Art...But Not Life of Frog on a Lily Pad!

Jackie Wullschläger, "Monet: THE RESTLESS VISION", 2024:

"...Thirty years later, in the first volume of À la recherche du temps perdu, Proust alludes to Monet’s water lilies. On a walk, the narrator watches the river Vivonne ‘choked with water-plants’, ugly and disordered, ‘suggesting certain victims of neurasthenia … and … those wretches whose peculiar torments, repeated indefinitely throughout eternity, aroused the curiosity of Dante’. Then comes a property whose owner ‘made a hobby of aquatic gardening, so that the little ponds into which the Vivonne was here diverted were aflower with water-lilies’. In the depths, the narrator now sees ‘a clear, crude blue verging on violet, suggesting a floor of Japanese cloisonné. Here and there on the surface, blushing like a strawberry, floated a water-lily flower with a scarlet centre and white edges.’  The gardener/artist has spun beauty and meaning from the chaos of nature and the mind. For Proust, Monet’s lilies symbolized the transformation of life into art.

The painter Elstir in À la recherche du temps perdu is partly based on Monet. In one of his seascapes, Proust writes, the artist ‘had felt so intensely the enchantment that he had succeeded in transcribing, in fixing for all time upon his canvas, the imperceptible ebb of the tide, the throb of one happy moment’.16  It is a description of the new painting which Monet inaugurated – painting which is expansive, fluid, and never stales because it is fed by the flux of so rich an inner life..."


 Artist: Jared Nangle, The New Yorker, November 2024

Friday, April 24, 2026

लहानश्या होडग्यात दाटीवाटीने बसलेली, प्राणभयाने आक्रंदन करणारी असहाय्य नगण्य माणसे...Shanta Shelke and Katsushika Hokusai

 शान्ता शेळके (१९२२-२००२), 'तीन चित्रकार : तीन दर्शने', 'निवडक शान्ता शेळके', १९९३-२००३ :

"जपानमध्ये एकोणिसाव्या शतकात होकुसाई  हा प्रतिभाशाली कलावंत होऊन गेला. 'लाटा' हे अप्रतिम चित्र ह्या होकुसाईच्याच कुंचल्यातून उतरले आहे. जी.  ए. कुलकर्णी यांनी आपल्या एका कथेत या चित्राचा  मार्मिक संदर्भ दिला आहे. सर्पफणेसारखी वळलेली प्रचंड लाट आणि तिच्या खाली लहानश्या होडग्यात  दाटीवाटीने बसलेली, प्राणभयाने आक्रंदन करणारी असहाय्य नगण्य माणसे असे हे चित्र होकुसाईच्या प्रतिभेचे उत्कृष्ट प्रत्यंतर आणून देते ..."

Katsushika Hokusai (1760 – 1849)

Although it is often used in tsunami literature, there is no reason to suspect that Hokusai intended it to be interpreted in that way. The waves in this work are sometimes mistakenly referred to as tsunami but they are more accurately called okinami , great off-shore waves.

लाटा हे चित्र आहे १८३०चे


Tuesday, April 21, 2026

हे वाचून माझी लढाई संपली आहे ...The Darkness of the Modern World

James Marriott, New Statesman, June 11 2025, review of Stefan Collini's book 'Literature and Learning: A History of English Studies in Britain':

"...To the patrician epicures and monied amateurs who ushered the subject into universities at the beginning of the 20th century (men who fondled poems like antique clocks and ranked novelists like vintages of claret), the study of literature was “a glory of the universe” or “the spring which unlocks the hidden life”. For the evangelists of the critic FR Leavis and charismatic secondary school teachers of the Sixties it was a moral crusade that pitted humanity against the spirit-killing incursions of machine civilisation: English had “life-enhancing powers”, and its study was essential if a modern person hoped to retain “any capacity for a humane existence”. Collini winces fastidiously at some of these “soaring affirmations”. And indeed, such confident panegyrics read strangely in an age when the subject is cowed, apologetic and shrinking. Today, English is reduced to doing its pathetic, blundering best to ape the sciences, grinding scholars through the Research Excellence Framework and promising students “transferable skills”, that mad but unkillable doctrine beloved of prospectus writers which holds that studying ecocritical perspectives on early Shelley is useful preparation for making PowerPoints at PWC....

...The screen is replacing the book. Studies show dramatic and unprecedented drops in literacy and reading, especially among teenagers. A recent survey by the National Literacy Trust found time spent reading books “at a historic low”. In this environment, the study of literature is far from an obvious use of three crucial years of young adulthood. And if the slew of viral journalistic reports from universities – “The end of the English major”, “The elite college students who can’t read books” – are to be believed, even students who choose to study English are unable to actually force themselves through novels. “Most of our students are functionally illiterate” runs a characteristic de profundis wail. A gloomy young Oxbridge academic I spoke to recently described “a collapse of literacy” among his students....

...  Literature’s prestige has declined precipitously since then. To many students in the 21st century, English seems not a liberal discipline but a positively anti-democratic one, with its cultural hierarchies, decaying canons and excessive reverence for the scribblings of dead white males....

...“In time,” Collini writes, “it may become possible to be accepted as a cultivated person (whatever that archaic term will by then have come to represent) without having an acquaintance with any literature written before one’s own era, or perhaps with any literature at all.” I agree but with one qualification: “May become possible?” To anybody under 40 it is clear that time is already upon us. Whether this heralds catastrophe – the fate of literature being coterminous with the fate of civilisation – remains to be seen. But when those of us raised in the faith survey the darkness of the modern world, the thought is a hard one to avoid."

म्हणजे तुम्हाला तुमच्या आधीचे लेखक वाचायची गरज नाही  , किंवा साहित्यच वाचायची नाही ....  


 Holiday Reading,1916 by Carl Larsson