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."

Thursday, December 03, 2020

गर्ट , श्री के क्षीरसागर आणि रस्त्यावर उघडणारी खिडकी....The Large Window of Our Miraj House

Sabine Rewald, curator of “Rooms with a View: The Open Window in the 19th Century”, 2011: 

“…Most artists painted so few open window scenes that I had to go all over to find the ones that existed….” 

The picture enclosed is : 'Goethe at the Window of His Roman Apartment'.... 

John Armstrong, city-journal, Autumn 2013:
"... Consider, for example, Tischbein’s Goethe at the Window of His Roman Apartment. We see the great man from behind: a slipper falls casually from his foot as he leans out, and the dim coolness of the room and the bright sunshine of the street make a powerful contrast. Some might see in this work an attempt to preserve the lessons learned on holiday. Away from home and work, in the warm South, Goethe became (like most travelers) a slightly different—and, in some ways, better—version of himself. The drawing attempts to memorialize the good version of the self and make that more prominent and more readily accessible when one has returned to familiar surroundings. The point is not so much to recall that Rome was interesting as to encapsulate who one became there. Goethe could hardly take the Italian weather back to Weimar; what he could do was hold on to the insight into his nature and needs that he gained while away. Hence it is a pity if one is more likely to encounter such images on the walls of a pensione in Trastevere than in a subway station in a metropolis, where its meditative qualities are more needed.. ."

माझे वडील त्यांच्या एस पी कॉलेज, पुणे तील कॉलेज जीवनामधील १९५० च्या दशकातील एखादी आठवण अधून मधून सांगायचे. त्यांचे एक प्राध्यापक होते मराठी साहित्यिक आणि टीकाकार श्री के क्षीरसागर. 
 
वडील म्हणत श्रीकेक्षींना मराठीतील 'खिडकी' हा शब्द अगदी गद्य आणि रोमँटिक गोष्टींसाठी अगदी अयोग्य वाटत असे. 

मला त्याचे कारण कधीच समजले नाही... श्रीकेक्षींनी 'पडोसन', १९६८ हा सिनेमा कधी बघितला का मला माहित नाही... कारण ज्याला त्यातील 'मेरे सामने वाली खिड़की में' ह्या सुमधुर गाण्यातील किंवा एकूणच त्या अप्रतिम सिनेमातील खिडकीचे महत्व समजले असेल तो खिडकी या शब्दाला  श्रीकेक्षीं सारखा दोष आयुष्यात देणार नाही. 
 
चित्र पाहताना, मला आमची मिरजेची, माडीवरची रस्त्याच्या लगतची- एका माणसाला सहज बसता येईल अशी- मोठी खिडकी आठवली... ती खिडकी म्हणजे आमची घरातील सर्वात जास्त exciting वाटणारी गोष्ट होती (१९६१- १९८४)... 
 
तिची तुलना हिचकॉक यांच्या Rear Window, 1954 शी करता येईल... लग्नाच्या वरातींपासून प्रेतयात्रे पर्यंत.... सुंदर मुली पहाणे, हवाहवासा पाऊस , शेजाऱ्यांच्या घरात डोकावणे, कुटुंबातील व्यक्तींची वाट पहाणे सगळे सगळे तिथे बसून झाले आहे ...


'Goethe am Fenster seiner römischen Wohnung', 1787
 
Artist : Johann Heinrich Wilhelm Tischbein

याच प्रकारचे आणखी एक चित्र बघायला मिळाले :

 The Attic Room,  1946  by Louis Icart 1880- 1950

 

2 comments:

अवधूत डोंगरे said...

काफ्काची एक छोटीशी कथाही खिडकीच्या असण्याची गुंतागुंत लक्षात घेणारी आहे, ती कथा अशी-
The Street Window
by Franz Kafka
Translated by Willa and Edwin Muir

Whoever leads a solitary life and yet now and then wants to attach himself somewhere, whoever, according to changes in the time of day, the weather, the state of his business, and the like, suddenly wishes to see any arm at all to which he might cling - he will not be able to manage for long without a window looking on to the street. And if he is in the mood of not desiring anything and only goes to his window sill a tired man, with eyes turning from his public to heaven and back again, not wanting to look out and having thrown his head up a little, even then the horses below will draw him down into their train of wagons and tumult, and so at last into the human harmony.

(स्त्रोत:http://franzkafkastories.com/shortStories.php?story_id=kafka_the_street_window)

Aniruddha G. Kulkarni said...

धन्यवाद, अवधूत..कथा विलक्षण आणि अविस्मरणीय आहे