"माझा प्रवास" मधली स्त्री आणि (एकेकाळील) मराठी अंकांवरील स्त्रीया...Godse Bhatji's Fear, Sweaty Woman and Cover Girls

On Feb 27 2016, I wondered when I might see Godse Bhatji's 'Maza Pravas' (माझा प्रवास) on Marathi TV. 

In that post, I quoted two paragraphs from Godse's book to highlight the kind of drama, thrill and even sex the book has.

One of them is about a tight embrace of an unknown young woman, Godse is forced to get into,  as both of them flee from the violence.

"...कोठें आवाज होत नाहीं अशी संधी पाहून बंड्यांतून बाहेर पडलो. धांवत धांवत विहिरीवर येऊन मडकें फासास लावून झराझर पाणी काढलें व मडकें तोंडास लाविलें. घोट दोन घोट पाणी घशाखालीं उतरतें न उतरतें इतक्यांत जवळच्या वाड्यांत बंदुकीचा आवाज कानीं पडला. जीवाची आशा मनुष्यास कधीही सुटत नाही. मडकें हातांतून टांकून धांव ठोकली तों घोंटाळून जाऊन आमचे बंड्याचा रस्ता चुकलों. तेंव्हां माझे हातपाय कापूं लागले व सैरावैरा इकडेतिकडे घाबरून धांवत सुटलो, इतक्यांत एका बंड्याचें तोंड दृष्टींस पडले. त्यांत डोंके घालून शिरण्यांस लागलों तों आंत दोघी तरुण बायका दृष्टींस पडल्या. त्यांनीही मोठ्यां घाईने आंत लवकर या असें सांगितलेंं. तो बंड्या फार लहान असल्यामुळें आंत दोघां बायकांसहित पुरेशी जागा बसण्यांस नव्हती. परंतु त्या कोमल अंत:करणाच्या स्त्रियांनी अडचण सोसून मला आंत घेतलें. त्यांची तोंडे पश्चिमेंस होती व मी आंत शिरून फिरावयास जागा नव्हती म्हणून माझें तोंड पूर्वेस होतें. या प्रमाणें तोंडास तोंड लावून उराशी उर लावून आम्ही बसलों. पुढेंच जी स्त्री होती तिचें आंग सर्व घामानें भिजलेलें होतें. त्यावेळेस माझें वय सुमारें तीस वर्षांचें असावें व त्या स्त्रीचे वय अठरा वर्षांचे असावें. अशी तरुण स्त्रीपुरुषें एकमेकांशी घट्ट मिठी मारून बसली असतांही कामवासना बिलकुल उत्पन्न झाली नाही, हा भयंकर मृत्यूभीतीचा प्रभाव म्हण्टला पाहिजे. साहा सात घटका झाल्यावर जवळ आसपास कोठें आवाज होत नाहींत असें पाहून मीं त्या बंड्यांतून बाहेर पडलों..."

I have been going through old issues of (once) well-known Marathi magazine (now defunct) 'Vangmay Shobha' (वाङ्मय शोभा).

I was quite amused to come across the same para in another context.

While Vangmay-Shobha magazine was born in May 1939, 'Amrut' (अमृत), another (once) well-known and now defunct magazine, was launched in 1953.

Amrut seems to have met immediate success. Its editor Dr. A V Varti (डॉ. अ वा वर्टी) boasted that the success came despite his magazine not printing images of women on its cover.

This is how Dr. Varti stated  it:

This was a dig at Vangmay-Shobha because it used to print three-colored beautiful images of women, drawn by the likes of Dinanath Dalal (दीनानाथ दलाल), RaghuvirMulgaonkar (रघुवीर मुळगावकर) , even D G Godse (द ग गोडसे) (and later Shaym Joshi श्याम जोशी, Padma Sahasrabuddhe पद्मा सहस्रबुद्धे , Sarjerao Ghorpade सर्जेराव घोरपडे , Chitrakar Salkar चित्रकार सालकर etc.) on its cover.

Mr. Manohar Mahadev Kelkar (मनोहर महादेव केळकर), editor of Vangmay-Shobha , almost always sensible, rebutted this over two issues of his magazine in April and May 1954. Mr. Kelkar has tried to point out Amrut's hypocrisy over the issue. It was hypocrisy because Amrut had quoted the paragraph above (tight embrace of a woman not resulting into any amorous feelings)  from Godse's book as above and even printed a picture depicting the embrace.

Mr. Kelkar went on to say that wetness of woman's sweaty body and the fear on Godse's face were not apparent because of the poor quality of the drawing in Amrut!

Mr. Kelkar continued....

This is all so amusing!

To Mr. Kelkar's credit,  I find that his magazine never carried any titillating pictures on its cover.

cover of American magazine 'Look' dated January 30 1940 featuring actress Anne Gwynne

courtesy: Wikipedia

The Greatest of All Comic Strips...Charles M. Schulz@100

#CharlesMSchulz100

Bryan Appleyard, The Spectator, January 2019:

"....Lucy is a cynic, a sadist, a huckster, a realist. Nevertheless, she would be right but for the fact that nothing is ever of ‘immeasurable value’ to Charlie Brown. He is too battered by life to be an idealist but he clings to hope, to the possibility that there is justice somewhere in the cosmos. He finds none but he is a good man, though only eight years old.

That, in a nutshell, is what Charles M. Schulz’s comic strip Peanuts is all about — the persistence of hope in the face of hopelessness. The strip ran in newspapers and on television from 1950 to 13 February 2000, the day after Schulz died.
It was — and remains — the greatest of all comic strips. Exquisitely drawn, beautifully written, timelessly true, it tenderly distils the absurdity and pain of the human condition. It is about children but it evades easy sentimentality by making the characters struggle with and suffer about childish things that are obviously adult things in disguise. You couldn’t pat Charlie Brown on the head and tell him not to worry, because he had already glimpsed the truth that, for good men like him, life is worry...."

Artist: Harry Bliss

It's Just a Mirage....FIFA WC Begins

Today November 21 2022, 2022 FIFA World Cup begins

Courtesy: The Spectator, UK, 2013

जीएंचा डोळ्याच्या बाहुल्या उफराट्या असलेला एक प्राणी...Vermeer’s Precious Gem is an Opulent Optical Illusion

जी. ए. कुलकर्णी:   

"रेम्ब्राँन्टच्या चित्रांत छाया आणि प्रकाश यांना जे थोर वजन प्राप्त होते, ते कधी एकदा तरी आयुष्यात माझ्या शब्दांना लाभावे एवढीच माझी प्रार्थना आहे."

"... अद्यापही एखाद्या Rembrandt किंवा Vermeer सारख्या अद्वितीय चित्रकाराच्या कृतीची मी Tolerable copy करू शकतो..."

".. स्त्री काय, पुरुष काय, मानव म्हणजे एकंदरीने डोळ्याच्या बाहुल्या उफराट्या असलेला एक प्राणी हेच खरे !..."

 Kelly Grovier, 2019:  

"Think you see a pearl dangling lustrously in Vermeer’s famous portrait (c. 1665) of a girl endlessly turning towards or away from us? Think again. The swollen bauble around which the painting’s mystery spins is just a pigment of your imagination. With a flick of the wrist and two deft dabs of white paint, the artist has tricked the primary visual cortices of our brains’ occipital lobes into magicking a pearl from the thinnest of air. Squint as tight as you wish and there is no loop that links the ornament to her ear. Its very sphericity is a hoax. We’ve willed the earring into weightless suspension from the puniest of white apostrophes. Vermeer’s precious gem is an opulent optical illusion, one that reflects back on our own illusory presence in the world."

जीएंना हे optical illusion माहित होते का? माहित नाही पण त्यांनी "our own illusory presence in the world" या बद्दल मात्र वारंवार लिहले आहे. 

लग्नाला सोळा वर्षे, बारा मुले, अनंत प्रलोभने तरी पत्नीप्रेम?...Shah Jahan and Mumtaz

ज्या शाहजहाँच्या जनानखान्यात असंख्य स्त्रिया होत्या , त्याला आपल्या एका पत्नी, मुमताज महल (१५९३-१६३१), बद्दल एवढे आकर्षण कसे वाटत राहिले?

खालील उत्तर रोचक आणि २१व्या शतकातील लोकांना सुद्धा थक्क करून टाकणारे आहे.

मुमताज महल हे करू शकत होत्या याचा अर्थ त्याकाळच्या बहुतेक श्रीमंत स्त्रियांना, विशेषतः उत्तर हिंदुस्तानातील राजघराण्यातल्या, यातील अनेक गोष्टी करता येत असतीलच.

पण ज्याला आपण प्रेम म्हणतो त्याला खालील गोष्टींचा सुद्धा  टेकू मिळाला गेला असायची शक्यता कधीच नाकारता येणार नाही.

Diana Preston & Michael Preston, ‘A Teardrop on the Cheek of Time’, 2007:

 “…Even after sixteen years of marriage and twelve children, Mumtaz clearly still held a unique sexual attraction for Shah Jahan. She was by now in her late thirties, an age at which most wives and concubines were considered too old for sex, but as with her aunt Nur her beauty must have endured. She could also rely on a formidable battery of cosmetics to beautify and purify her body for the imperial bed, including concoctions of flowers, seeds and oils to give added lustre to black hair, black powdered antimony sulphide – kohl – to rim her eyes and pastes of burned conchshells and banana juice to remove unwanted hair.*

Mumtaz also had available the most seductive of clothes – thin silks in rainbow hues from pale apricot to lilac to ruby red, or diaphanous, gossamer-thin muslins that, because of their fine texture, were given names like ‘running water’, ‘woven air’ and ‘evening dew’. They were made up into tight-fitting pyjama or salwar – drawers which fastened with bunches of pearls – tight cholis or bodices, half concealing the breasts, and a V-necked pesvaj, a long transparent coat open to the ankles from its fastening at the breast. Though the clothes of Moghul women were still heavily Turkish in style, they had adopted Hindu ways of dressing their hair. Instead of simply wearing it loose and parted, they had begun twisting it ‘into a flat pad at the back from which a few curls rolled on’. Mumtaz draped her head with golden veils or wore turbans of bright silk with waving ostrich plumes. As the favourite wife of an emperor who was passionate about gems, she would also have possessed the most fabulous and elaborate of jewels. Some slight hint of what she must have worn comes from a European doctor allowed to treat a woman of the imperial harem. He complained that he was unable to locate his patient’s pulse because of the ‘very rich bracelets or bands of pearls which usually go round nine or twelve times’.

The sexual gratification of the emperor was paramount and there were techniques Mumtaz could use to make her vagina, the madan-mandir, or temple of love, slackened through constant pregnancies, contract to enhance his pleasure. She could delicately apply such fragrant pastes as camphor mixed with honey, lotus flowers crushed in milk, or pounded pomegranate skins to the vagina walls. However, the need for women to experience sexual pleasure was also understood and a range of aphrodisiac concoctions existed to help women achieve orgasm. Some, like powdered ginger and black pepper, mixed with the honey of a large bee, were applied inside the vagina. Other aphrodisiac concoctions were smeared on the lover’s penis two hours before intercourse; by stimulating and enlarging the organ, these were said to heighten the woman’s sensation. There were also methods of delaying male ejaculation, some involving swallowing opium, and aphrodisiacs claimed to be so effective that they gave a man the sexual energy of a stallion. A set of stimulants collectively named ‘the Making of the Horse’ was particularly popular….”