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."

Friday, October 09, 2020

ऑर्फियस आणि यूरिडिसी ...Inspiration for Artists, Writers and Composers for Centuries

ऑर्फियस आणि यूरिडिसी म्हटल्यावर अनेक मराठी वाचकांना पहिल्यांदा काय आठवते ते जी ए कुलकर्णी यांची 'ऑर्फियस' नावाची रूपक कथा. 

पहिल्यांदा 'सत्यकथा' मध्ये १९७३ साली प्रकाशित झालेली आणि नंतर 'पिंगळावेळ' या १९७७ सालच्या कथासंग्रहात समाविष्ट केलेली. 

'Orpheus and Eurydice' या नावाचा लेख हिस्टरी टुडे या माझ्या आवडत्या नियतकालिकात ऑगस्ट २०१९ मध्ये प्रकाशित  झाला. त्याची सुरवात अशी केलेली आहे :

"A Classical myth of enduring love that has inspired artists, writers and composers for centuries."

जीए त्या परंपरेतील एक. 

"... In Peter Paul Rubens’ painting, Orpheus is depicted struggling to look ahead soon after the deities have consented to her return. On leaving the underworld, the lovers ascended a steep and misty path and, as they neared the earth’s rim, an anxious Orpheus looked behind for his bride, who fell and murmured a final farewell before dying again. ‘No reproach passed her lips’, according to Ovid in his Metamorphoses, because Eurydice now knew for certain that Orpheus loved her unconditionally.

The myth of Orpheus and Eurydice has inspired numerous works of art: in literature, a cast as diverse as Boethius, Rainer Maria Rilke, Thomas Pynchon and Carol Anne Duffy have created variants on its themes, while the filmmakers Jean Cocteau, in his trilogy – The Blood of a Poet (1930), Orphée (1950) and Testament of Orpheus (1959) – and Marcel Camus, with Black Orpheus (1959), have captured its resonant tragedy. Fittingly, it is in music that the myth’s greatest legacy lies. L’Orfeo, Claudio Monteverdi’s opera, the form’s earliest surviving masterpiece, composed in 1607, became the first of many musical dramas to tackle the story: Christoph Willibald Gluck (Orfeo ed Euridice, 1774), Jacques Offenbach (Orpheus in the Underworld, 1858), Harrison Birtwistle (The Mask of Orpheus, 1986) and Anaïs Mitchell’s current Broadway hit Hadestown, set in America’s Deep South, are among those to have added to a canon that continues to expand."

जीए ह्यांनी Rainer Maria Rilke (The Sonnets to Orpheus, 1922) किंवा Thomas Pynchon (Gravity's Rainbow, 1973) यांचे संबंधित साहित्य वाचले असायची शक्यता खूप आहे तसेच Peter Paul Rubens ह्यांचे चित्र तर त्यांनी नक्कीच पहिले असणार. 


Orpheus, by Peter Paul Rubens, 1636-38

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