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."

Thursday, November 23, 2023

Banabhatta: My Name is Red!...बाण, दुर्गा भागवत आणि राजा रवी वर्मा

दुर्गा भागवत:
 
"... 'थोडी चित्रमयता आणि लाल रंगाची अनावर ओढ यामुळे बाण वाचावा' असं मात्र गुरुदेव टागोरांनी म्हटलं आहे..."
 
('बाणाची कादंबरी आणि मी', 'अबकडइ', दिवाळी १९८४, पृष्ठ १८१, 'भावसंचित', २०१५)
 
[ ओरहान पामुक यांच्या "My Name is Red", १९९८ ह्या त्यांच्या नोबेल पुरस्काराला हातभार लावणाऱ्या कादंबरी प्रमाणे असे वाटते बाण (इ स. सातवे शतक) सुद्धा म्हणतायत "My Name is Red"!]
 
"She was young, and dark like Mohini who beguiled the asuras into parting with the nectar. Indeed she was like a walking sapphire doll. Her body was covered down to her ankles in a dark-coloured robe. Over her head she wore a red silk veil. It was like the red rays of the morning sun falling on a field of blue lilies. On one of her ears there hung a dantapatra, an ivory ear ornament whose radiance seemed to render her cheek a little pale, even like the rays of the rising moon lightening the darkness of the night. Her brownish tilaka done in gorochana was like a third eye. Her slender waist could have been grasped by one hand, like the floral bow of Manmatha.
She was like autumn with her wide eyes like white lily blooms.
She was like the rainy season with her cloud mass of dark tresses.
She was like Shri with the lotus lustre of her palms...."
 
('Kadambari' by Bana , translated by Padmini Rajappa)
 
picture: 'Kadambari' by Raja Ravi Varma
 
 

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