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, July 14, 2023

नेपोलियन आणि मीना कुमारी ...Napoleon and Meena Kumari

 नेपोलियन आणि मीना कुमारी  यांच्यात महत्वाचे साम्य काय? 

नेपोलियन यांचा उजवा हात...

"... Ask a group of people to describe Napoleon Bonaparte’s physical appearance and chances are the same two things will come up: he was short – so short that contemporary British cartoonists delighted in depicting him as a pint-sized figure called ‘Little Boney’, in fact – and that he would always walk around with his right hand tucked in between the buttons of his shirt, waistcoat or jacket...." 

(Jonny Wilkes, History Extra, July 2021)

(... But the truth behind the look has little to do with Napoleon at all, and more to do with portraiture in the 18th and 19th centuries. Concealing a hand in a shirt became a common pose in paintings as a symbol of statesmanlike nobility and restraint. According to a 1737 book on etiquette, The Rudiments of Genteel Behaviour by François Nivelon, it symbolised “manly boldness tempered with modesty”. That idea may go back as far as ancient Greece, when eminent orator Aeschines declared that speaking with an arm inside one’s cloak was a sign of modesty.... )


 

 

 

 

 

 

 

 

 

 

 

 

 

 

... आणि मीना कुमारी यांचा डावा हात पूर्णपणे आपल्याला पडद्यावर कधीच दिसत नाही... 

(Well, turns out that the little finger of her left hand was broken and hence it appeared crooked. In an interview, Kamal Amrohi's son Tajdar Amrohi revealed that on May 21, 1951, Meena Kumari was returning to Mumbai from Mahabaleshwar when her car met with an accident.)

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