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."

Wednesday, May 08, 2019

सूर्यफुलांच्या शय्येवर / निजलो एका वेश्येला घेऊन...How Van Gogh Lost Both The Ears!

(लक्षात असूद्या की रेगे एक व्यंगचित्रकार सुद्धा होते. त्यांची काही व्यंगचित्रे इथे पहा.)

दोन आत्मचरित्रे 
१ - व्हॅन गॉव

मी
       व्हॅन गॉव्...
 मी

सूर्यफुलांच्या शय्येवर
निजलो एका वेश्येला घेऊन
अन् दिला तिला
माझाच एक कान कापून ...
         ई S S S S
अखेर हिरव्यां सांवल्यांचा डोहांत
आत्महत्या केली मी
तिची मी
उन्हाची
पिवळीजर्द... विवस्त्र किंकाळी ऐकून
....
(ऑक्टोबर २८ १९५५, पृष्ठ ७४,  'अक्षरवेल', १९५७/ १९८६)



कलाकार: हॅरी ब्लिस
काय घडले होते २३ डिसेंबर १८८८ ला:


Maria Popova:
“…Gauguin laments that in the years since, he has been frequently bedeviled by the regret that he didn’t chase Van Gogh down and disarm him. Instead, he checked into a local hotel and went to bed, but he found himself so agitated that he couldn’t fall asleep until the small hours of the morning. Upon rising at half past seven, he headed into town, where he was met with an improbable scene:

“ Reaching the square, I saw a great crowd collected. Near our house there were some gendarmes and a little gentleman in a melon-shaped hat who was the superintendent of police.
This is what had happened.
 Van Gogh had gone back to the house and had immediately cut off his ear close to the head. He must have taken some time to stop the flow of blood, for the day after there were a lot of wet towels lying about on the flag-stones in the two lower rooms. The blood had stained the two rooms and the little stairway that led up to our bedroom.
 When he was in a condition to go out, with his head enveloped in a Basque beret which he had pulled far down, he went straight to a certain house where for want of a fellow-countrywoman one can pick up an acquaintance, and gave the manager his ear, carefully washed and placed in an envelope. “Here is a souvenir of me,” he said.”

That “certain house” was, of course, the brothel Van Gogh frequented, where he had found some of his models. After handing the madam his ear, he ran back home and went straight to sleep, shutting the blinds and setting a lamp on the table by the window. A crowd of townspeople gathered below within minutes, discomfited and abuzz with speculation about what had happened….”

तेंव्हा

"सूर्यफुलांच्या शय्येवर
निजलो एका वेश्येला घेऊन
अन् दिला तिला
माझाच एक कान कापून ..." हे असं काही बहुदा घडल नाही! अर्थात, १९५५ साली रेगेंना ही सगळी ऐतिहासिक पार्श्वभूमी माहिती नसेल.....

एक घटना,  दोन व्यंगचित्रे!

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