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."

Wednesday, January 31, 2024

गोदावरीचे पाणी पिण्याकरिता जे हत्ती आले...Beauty of Nature in Ramayana

 चिंतामण विनायक वैद्य:

"... सहाही ऋतूंचे वर्णन असणे हे एक महाकाव्याचे लक्षण समजले जाते. ऋतूंची वर्णने रामायनाइतकी सुंदर दुसऱ्या कोठेही नाहीत. ... वर्षाऋतूचे वर्णन वाचीत असता आपण पावसात उभे असून पावसाच्या धारा आपल्या अंगावर पडत आहेत की काय असा भास होतो. त्याचप्रमाणे थंडीचे वर्णन करताना "गोदावरीचे पाणी पिण्याकरिता जे हत्ती आले त्यांनी सोंडेने पाण्यास स्पर्श करताच त्या मागे घेतल्या" असे कवीने जे म्हटले आहे, त्यावरून कवीची अवलोकन शक्ती किती सूक्ष्म व दांडगी आहे याची कल्पना येते. दुसऱ्या कोणत्याही काव्यापेक्षा या बाबतीत रामायणाचा नंबर वर लागतो. ..."

('संस्कृत वाङ्मयाचा इतिहास', 'रामायण', १९२२-१९९४, पृष्ठ ८०)


 

Sunday, January 28, 2024

Roots of 'Secularism'...a concept that had little meaning outside of a Christian context?

John Gray, 'Seven Types of Atheism', 2018:

"...The belief that we live in a secular age is an illusion. If it means only that the power of the Christian churches has declined in many western countries, it is a description of fact. But secular thought is mostly composed of repressed religion. The idea of a secular realm originated in Jesus teaching his disciples to render unto Caesar what is Caesar’s. It is Jewish and Christian monotheism – not the European Enlightenment – that is the chief source of the practice of toleration. But monotheism also inspired many of the anti-liberal movements of modern times. A mix of Christian notions of redemption with a Gnostic belief in the salvific power of knowledge has propelled the project of salvation through politics. With the revival of religion in recent times, we may seem to be living in a post-secular era. But since secular thinking was not much more than repressed religion, there never was a secular era..."

John Gray, 'The Silence of Animals: On Progress and Other Modern Myths', 2013: 

"...Humanists today, who claim to take a wholly secular view of things, scoff at mysticism and religion. But the unique status of humans is hard to defend, and even to understand, when it is cut off from any idea of transcendence. In a strictly naturalistic view – one in which the world is taken on its own terms, without reference to a creator or any spiritual realm – there is no hierarchy of value with humans at the top. There are simply multifarious animals, each with their own needs. Human uniqueness is a myth inherited from religion, which humanists have recycled into science..." 

Historian Tom Holland had a lot to say about secularism in his book 'Dominion: The Making of the Western Mind', 2019.

"...Naturally, for it to function as its exponents wished it to function, this could never be admitted. The West, over the duration of its global hegemony, had become skilled in the art of repackaging Christian concepts for non-Christian audiences. A doctrine such as that of human rights was far likelier to be signed up to if its origins among the canon lawyers of medieval Europe could be kept concealed. The insistence of United Nations agencies on ‘the antiquity and broad acceptance of the conception of the rights of man’8 was a necessary precondition for their claim to a global, rather than a merely Western, jurisdiction. 

Secularism, in an identical manner, depended on the care with which it covered its tracks. If it were to be embraced by Jews, or Muslims, or Hindus as a neutral holder of the ring between them and people of other faiths, then it could not afford to be seen as what it was: a concept that had little meaning outside of a Christian context. 

In Europe, the secular had for so long been secularised that it was easy to forget its ultimate origins. To sign up to its premises was unavoidably to become just that bit more Christian.

Merkel, welcoming Muslims to Germany, was inviting them to take their place in a continent that was not remotely neutral in its understanding of religion: a continent in which the division of church and state was absolutely assumed to apply to Islam..."

 "...The great claim of what, in 1846, an English newspaper editor first termed ‘secularism’ was to neutrality. Yet this was a conceit. Secularism was not a neutral concept. The very word came trailing incense clouds of meaning that were irrevocably and venerably Christian. That there existed twin dimensions, the secular and the religious, was an assumption that reached back centuries beyond the Reformation: to Gregory VII, and to Columbanus, and to Augustine. The concept of secularism – for all that it was promoted by the editor who invented the word as an antidote to religion – testified not to Christianity’s decline, but to its seemingly infinite capacity for evolution. Manifest in English, this was manifest in other languages too…"


 image courtesy: on X @MeghUpdates

Thursday, January 25, 2024

गुलामी की मानसिकता को तोड़कर उठ खड़ा हो रहा राष्ट्...If V S Naipaul Were Alive Today

भारताचे पंतप्रधान नरेन्द्र मोदी:

 "... 22 जनवरी, 2024 का ये सूरज एक अद्भुत आभा लेकर आया है। 22 जनवरी, 2024, ये कैलेंडर पर लिखी एक तारीख नहीं। ये एक नए कालचक्र का उद्गम है। राम मंदिर के भूमिपूजन के बाद से प्रतिदिन पूरे देश में उमंग और उत्साह बढ़ता ही जा रहा था। निर्माण कार्य देख, देशवासियों में हर दिन एक नया विश्वास पैदा हो रहा था। आज हमें सदियों के उस धैर्य की धरोहर मिली है, आज हमें श्रीराम का मंदिर मिला है। गुलामी की मानसिकता को तोड़कर उठ खड़ा हो रहा राष्ट्र, अतीत के हर दंश से हौसला लेता हुआ राष्ट्र, ऐसे ही नव इतिहास का सृजन करता है। आज से हजार साल बाद भी लोग आज की इस तारीख की, आज के इस पल की चर्चा करेंगे। और ये कितनी बड़ी रामकृपा है कि हम इस पल को जी रहे हैं, इसे साक्षात घटित होते देख रहे हैं। आज दिन-दिशाएँ... दिग-दिगंत... सब दिव्यता से परिपूर्ण हैं। ये समय, सामान्य समय नहीं है। ये काल के चक्र पर सर्वकालिक स्याही से अंकित हो रहीं अमिट स्मृति रेखाएँ हैं।..."

After Ram Temple consecration, I went to V S Naipaul's 'India: A Wounded Civilization' , 1977 and reread this:

"...It was at Vijayanagar this time, in that wide temple avenue, which seemed less awesome than when I had first seen it thirteen years before, no longer speaking as directly as it did then of a fabulous past, that I began to wonder about the intellectual depletion that must have come to India with the invasions and conquests of the last thousand years. What happened in Vijayanagar happened, in varying degrees, in other parts of the country. In the north, ruin lies on ruin: Moslem ruin on Hindu ruin, Moslem on Moslem. In the history books, in the accounts of wars and conquests and plunder, the intellectual depletion passes unnoticed, the lesser intellectual life of a country whose contributions to civilization were made in the remote past. India absorbs and outlasts its conquerors, Indians say. But at Vijayanagar, among the pilgrims, I wondered whether intellectually for a thousand years India hadn’t always retreated before its conquerors and whether, in its periods of apparent revival, India hadn’t only been making itself archaic again, intellectually smaller, always vulnerable...."

What would Naipaul (1932-2018)  say now on Jan 23 2024?  


 sculptor Arun Yogiraj

 

Monday, January 22, 2024

माझ्या आणि रामाच्या नात्या बद्दल...Ram and I

 

माझ्या आणि रामाच्या नात्या बद्दल खालील उताऱ्यापेक्षा जास्त चांगले लिहता येणार नाही...

श्रीनिवास विनायक कुलकर्णी, 'आम्ही वानरांच्या फौजा', "डोह", १९६५:
 
"... थोरली आई कुणाकुणाच्या नावाचा एक घास तोंडात भरवी. पानातच हळुवारपणे हात धुवी. आपल्याजवळच्या दुलईत गुरगटून घेई. अंगभरच्या गुंगीवर मऊ हात फिरवी. प्रेमाने थोपटी आणि अंधुकसे सांगत राही:
 
"बरं का, आपली आणि त्या मोठ्ठ्या कुणाची प्रत्येक जन्मी गाठभेट होते आहे...तो गोकुळात कृष्ण म्हणून आला तेव्हा आपण गोपाळांच्या मेळ्यात होतो...तो रामराजा होता त्या वेळी आपण त्याच्या वानरांच्या फौजांत होतो...
 
तुम्ही अवतरले गोकुळी, आम्ही गोपाळांच्या मेळी
तुम्ही होते रामराजा, आम्ही वानरांच्या फौजा..."
 

 कलाकार: औंध संस्थानाचे राजे- भवानराव श्रीनिवासराव पंत प्रतिनिधी (१८६८-१९५१)
 
 
 
नेहमीच मी त्या वानरांच्या फौजेत असतो...

Friday, January 19, 2024

Marathas, Malik Ambar and Mughal Emperor Jahangir's Fantasies in Early 17th Century

शहाजी राजे, मलिक अंबर, (संत एकनाथ आणि इतर) यांच्या मध्ययुगीन महाराष्ट्राचा आणि पर्यायाने भारताचा इतिहास हा कसा जागतिक इतिहास आहे, याचे एक अतिशय कलात्मकतेने सादर केलेले उदाहरण म्हणजे हे सोबतचे Abu’l-Hasan यांनी जहांगीर बादशहाचे १६१६ साली काढलेले चित्र आहे...
 
रिचर्ड ईटन त्याबद्दल आपल्या "India in the Persianate Age: 1000-1765", 2019 पुस्तकात लिहतात...
 
"... One of the most arresting portraits commissioned by Jahangir is the deeply allegorical painting of himself standing on a globe that rests on the horns of a bull, which in turn stands on a great fish – symbols of kingship drawn from Hindu lore. All around the emperor are seen images representing his highest aspirations. Cherubs in the sky offer him a sword and arrows. To one side is an elaborate crown above a roundel in which is inscribed his own name and those of each of his royal ancestors reaching back to Timur. Above the crown flutters a bird of paradise. To the emperor’s other side is a golden scale of justice hanging from a chain with golden bells. The chain is suspended between the globe and a javelin, against which rests a musket. In the centre of the painting, wearing a white turban, a crimson gown and impeccably white slippers, is Jahangir himself, drawing a reverse-curved bow and aiming his arrow at the severed head of his most hated enemy, Malik Ambar (d. 1626), which rests on the tip of the javelin. Perched on Ambar’s bare head is an owl, a symbol of darkness. All around the head are inscriptions that speak of the emperor’s contempt for Malik Ambar – ‘The head of the night-coloured servant has become the house of the owl’; ‘Ambar the owl, which fled the light, has been driven from the world by your [Jahangir’s] enemy-smiting arrow."
 
हे चित्र जहांगिराची निव्वळ फँटसी आहे , स्वप्न आहे.... हे चित्र १६१६ साली काढण्यात आले हा योगायोग नाही! कारण... त्यावर्षी मराठे आणि अफ्रिकी यांनी मोगलांना जेरीस आणले होते...
 
"The painting was completed c.1616, another bad year in a series of bad years for Mughal military operations in the Deccan. From the start of his reign, Jahangir had sent army after army south to fulfil his father’s dream of annexing the plateau to the empire. Between 1608 and 1612 he launched four major invasions led by his best generals, but all were repulsed by armies loyal to Ahmadnagar, one of the three remaining major sultanates of the plateau. Although the kingdom’s Nizam Shahi house was headed by a series of weak, puppet sultans and the capital of Ahmadnagar was occupied by Mughal forces, the state was kept alive by two powerful groups: Maratha warrior lineages and the so-called Habshis – natives of east Africa recruited as military slaves. Malik Ambar, a disciplined leader and master tactician, was a member of the latter group. His career is important, not just because he and his Deccan forces managed to check India’s mightiest armies for two decades, but also for what it reveals about the place of Africans in Indian history, and about military slavery itself...."
 
आणि म्हणून मग मलिक अंबर चा पराकोटीचा द्वेष (त्याच्या तुटलेल्या मुंडक्यावरचे घुबड पहा)आणि हिंदूंधर्मातील कल्पना वापरत त्याच्या क्रूरपणे केलेल्या हत्येची कल्पनारम्यता...
 
मलिक अंबर वयाच्या ७७व्या वर्षी १६२६ साली शांतपणे, बहुदा आपल्या स्वतःच्या बिछान्यात वारले...
 
टीपा :
 
१) In the 3rd century BC, Hellenistic astronomy established the roughly spherical shape of Earth as a physical fact and calculated the Earth's circumference. This knowledge was gradually adopted throughout the Old World during Late Antiquity and the Middle Ages. By about the 5th century AD, the siddhanta astronomy texts of South Asia, particularly of Aryabhata, assume a spherical Earth as they develop mathematical methods for quantitative astronomy for calendar and time keeping.

२) चित्र जून २०२३ मध्ये न्यूयॉर्क, अमेरिकेतील प्रसिद्ध मेट संग्रहालयात आहे. पहा  Met Museum
 

Tuesday, January 16, 2024

Strugggle with Sleep

 

Florian Illies, '1913: The Year Before the Storm', 2012:
 
"On 13 November, Swann’s Way, the first volume of Marcel Proust’s great novel In Search of Lost Time, is published. After the book was turned down not only by the Fasquelle and Oldenbourg publishing houses and the Nouvelle Revue Française but also by André Gide, the then editor at Gallimard, Proust had the book published by Grasset at his own expense. No sooner does he hold the first copy in his hands than his chauffeur and lover Alfred Agostinelli splits up with him. Everyone else falls for the author. Rilke reads the book only a few days after its publication. It begins with the golden words ‘Longtemps, je me suis couché de bonne heure’ – ‘For a long time I went to bed early’ – and in saying this, Proust touched the nerve of an exhausted avant-garde who, from Kafka to Joyce, from Musil to Thomas Mann, boasted in their diaries whenever they managed to go to bed before midnight. Going to bed early – to the ever weary pioneers of the modern age it seemed like the bravest struggle against depression, drinking, senseless distraction and the advance of time."
 

 artist: P C Vey

Saturday, January 13, 2024

Wednesday, January 10, 2024

Jasmine, Susila, The English Teacher and William Morris

 R. K. Narayan, The English Teacher, 1945:

"...I was walking down our lone street late at night, enveloped in the fragrance of the jasmine and rose garland, slung on my arm. ‘For whom am I carrying this jasmine home?’ I asked myself. Susila would treasure a garland for two whole days, cutting up and sticking masses of it in her hair morning and evening. ‘Carrying a garland to a lonely house – a dreadful job,’ I told myself.

I fumbled with the key in the dark, opened the door and switched on the light. I hung up the garland on a nail and kicked up the roll of bedding. The fragrance permeated the whole house. I sprinkled a little water on the flowers to keep them fresh, put out the light and lay down to sleep.

The garland hung by the nail right over my head. The few drops of water which I sprinkled on the flowers seemed to have quickened in them a new life. Their essences came forth into the dark night as I lay in bed, bringing a new vigour with them. The atmosphere became surcharged with strange spiritual forces. Their delicate aroma filled every particle of the air, and as I let my mind float in the ecstasy, gradually perceptions and senses deepened. Oblivion crept over me like a cloud. The past, present and the future welded into one...

 

 ...‘Susila! Susila!’ I cried. ‘You here!’ ‘Yes, I’m here, have always been here.’ I sat up leaning on my pillow. ‘Why do you disturb yourself?’ she asked.

‘I am making a place for you,’ I said, edging away a little. I looked her up and down and said: ‘How well you look!’ Her complexion had a golden glow, her eyes sparkled with a new light, her sari shimmered with blue interwoven with ‘light’ as she had termed it …‘How beautiful!’ I said looking at it. ‘Yes, I always wear this when I come to you. I know you like it very much,’ she said. I gazed on her face. There was an overwhelming fragrance of jasmine surrounding her. ‘Still jasmine-scented!’ I commented.

‘Oh wait,’ I said and got up. I picked up the garland from the nail and returned to bed. I held it to her. ‘For you as ever. I somehow feared you wouldn’t take it …’ She received it with a smile, cut off a piece of it and stuck it in a curve on the back of her head. She turned her head and asked: ‘Is this all right?’

‘Wonderful,’ I said, smelling it.

A cock crew. The first purple of the dawn came through our window, and faintly touched the walls of our room. ‘Dawn!’ she whispered and rose to her feet.

We stood at the window, gazing on a slender, red streak over the eastern rim of the earth. A cool breeze lapped our faces. The boundaries of our personalities suddenly dissolved. It was a moment of rare, immutable joy – a moment for which one feels grateful to Life and Death."

 

(please note in case you don't...Susila has been dead for a while)

 


 'Jasmin' wallpaper by William Morris (1834 ~ 1896)

 

 

Sunday, January 07, 2024

Gregor Samsa's Mother and School

Franz Kafka, 'The Metamorphosis', 1915:

"One morning, as Gregor Samsa was waking up from anxious dreams, he discovered that in bed he had been changed into a monstrous vermin. He lay on his armour-hard back and saw, as he lifted his head up a little, his brown, arched abdomen divided up into rigid bow-like sections. From this height the blanket, just about ready to slide off completely, could hardly stay in place. His numerous legs, pitifully thin in comparison to the rest of his circumference, flickered helplessly before his eyes...."