How Many IITians Were Behind Chandrayaan -III?

 Eighty-year-old Dr R Mahadevan, from the first batch of IIT-Madras was interviewed by Indian Express in September 2023. Read it here.

This is a wonderful interview. I did not know so much about IITM but  a part of this statement what saddened me: 

"We didn’t have any placement cells in 1964. We just concentrated on our studies and once we graduated, we started applying for jobs. However, most batchmates went abroad for higher studies. I worked at the Hindustan Steel in Rourkela and then pursued MTech from IIT Kharagpur,” 

..."most batchmates went abroad for higher studies"....and probably never returned....

shocking...so from first batch it started...and then it was happening as- he himself informs- the course was shortened to complete in Jan 1964 as country needed engineers after China war....

 

what kind of kids were they, when India needed them most....? 

 

When did elites bury nationalism after 1947? Was it 'Jagte Raho', 1956 syndrome? Indeed things had fallen apart in India from 47 to 64 and middle-class was utterly cynical and hopeless?

 

 IIT Madras - The first batch of graduates from IITM and their faculty (1964)

Raj Kapoor@100...राज कपूर आणि आम्ही

राज कपूर यांचे आमच्या घरात अग्रणी स्थान होते ... माझे वडील आम्हाला त्यांचे सिनेमा बघायला प्रवृत्त करायचे ... बाकीच्यांना नाके मुरडायांचे ... (नंतर मी त्याची कसर भरून काढली!)... त्यांचे फार कमी  सिनेमे मला खूप आवडले - जागते राहो, श्री ४२०, बूट पॉलीश , चोरी चोरी , मेरा नाम जोकर, बॉबी ...

माझ्या आई बरोबर वडिलांचे जे प्रेमप्रकरण १९५०च्या दशकात पुण्यातील पंतगोटात सुरु होते , त्यावेळी त्या दोघांना राज कपूर नर्गिस म्हटले जात असे मी नंतर ऐकले आहे ... 

दोन्ही प्रेमप्रकरणे फार यशस्वी झाली असे आज २०२४ साली म्हणवत  नाही ..

राज कपूर आणि माझे वडील यांच्या बद्दल खूप लिहता येईल पण ते करायला मन धजावत नाही ... बऱ्याचदा त्त्यांचे सद्गुणच आठवतात ... त्यांचे माझ्यावरचे उपकार आठवतात ...

आणि आज तर कपूर यांची जन्मशताब्दी..

Rishi Kapoor:

"...I have seen my father lament about the lack of talent in his own time. He would get exasperated and say, ‘Thank God Mehboob and Shantaram are not around. If they’d seen the kind of films we’re making, they’d have committed suicide.’ I think my father may have wanted to do the same today. Towards the end of his life, he was horrified by how busy actors had become and how wages had shot up, and how little actors were involved in a film as a whole..."

 Raj Kapoor in the greatest Hindi film ever made Amit Maitra and Sombhu Mitra's "Jagte Raho", 1956

 

C. P. Cavafy, Aboard the Ship...जी. ए. कुलकर्णी, दीनानाथ दलाल, पाणी, बोट, नावाडी, भारून टाकणारी दुपार... सगळे जुने...वेळ चुकवून पुढे आलेले

 

जीएंनी त्यांच्या उत्तर हिंदुस्थानातील प्रवासाबद्दल जयवंत दळवींना एप्रिल ६ १९७४ रोजी एका पत्रात कळविले (पृष्ठ १४०-१४१, 'प्रिय जी. ए.: स. न. वि. वि.', १९९४) ....

 

जीएंनी केलेल्या त्या गंगा-यमुना संगमाचे लहानसे वर्णन मला झपुर्झा स्थितीत नेवून सोडते. त्यात त्यांच्या होडीचा अबोल नावाडी सुद्धा महत्वाची भूमिका पार पाडतो ...

आज मी माझे अत्यंत आवडते कवी सी पी कवाफी (C. P. Cavafy, Greek) यांची एक अप्रतिम कविता वाचली ... 

 

=====Aboard the Ship=====

 

It certainly resembles him, this small

pencil likeness of him.

Quickly done, on the deck of the ship:

an enchanting afternoon.

The Ionian Sea all around us.

It resembles him. Still, I remember him as handsomer.

To the point of illness: that’s how sensitive he was,

and it illumined his expression.

Handsomer, he seems to me,

now that my soul recalls him, out of Time.

Out of Time. All these things, they’re very old—

the sketch, and the ship, and the afternoon.

[1919; 1919]

 

... आणि ती वाचल्यावर दलालांचे तितकेच सुंदर चित्र आठवले ...

 

अनंत काणेकर आणि दीनानाथ दलाल यांनी उत्तर आणि दक्षिण भारतात प्रवास करून दोन पुस्तके प्रकाशित केली ... त्यातील दलालांचे एक स्केच

 

पाणी, बोट, नावाडी, भारून टाकणारी दुपार... सगळे जुने...वेळ चुकवून पुढे आलेले...खुणावते आहे ...

 

कृतज्ञता : कवाफी यांचे अनुवादक Daniel Mendelsohn आणि दलाल यांच्या कलाकार्याचे कॉपीराईट होल्डर्स

 

 

डी डी कोसंबी, शाम लाल, आणि सेतु माधवराव पगडी...D D Kosambi, Sham Lal and S M Pagdi

 Sham Lal reviewed Kosambi's 'An Introduction to the Study of Indian History' for the Times of India May-June 1957.

"...History is "the presentation, in chronological order, of successive developments in the means and relations of production". This defines his creed as well as his method.

The lack of disguise puts off many readers. Yet it in no way excuses the bad manners of the critic who after reading the book said: "time marxes on." Marx is not dismissed by a schoolboy joke. Perhaps more than Kosambi's method what gets on the reader's nerves is the cramp in the professor's personality. He is too cold and stern. Not for a second does he warm up to his subject. He is too proud and perpendicular. He never stoops to shake hands with anyone who differs from him. Invariably, he turns his face away. He will not let the sleeping dogs lie and gives them a kick whenever he can.

May be there is a touch of malice in all this..."

"...Who spoke of the "golden age" of the Guptas? Not Kosambi. It is true, he tells us, that we have more gold coins from the Gupta period than from any other, but gold coins don't make an age golden

What about Kalidasa? we mumble. And Arya Bhatta and Varahamihira? And those who painted the murals in caves 1 and 2 and 16 and 17 at Ajanta and carved the face of the Sarnath Buddha? Kosambi dismisses these questions with a shrug of the shoulder. "I know all that and much more," he says in effect. "But bejeweled Avalokitesvaras and faintly smiling Buddhas don't make an age golden either. Look at the languishing cities, a more hidebound caste system and the idiocy of life in the stagnating villages." We are not convinced. There must be something more to it than the idiocy of village life, we say to ourselves. How could so much idiocy sustain so much sophistication in both art and thought?..."

"...So we take leave of the learned professor. We don't feel relaxed. But then history is not fiction, he reminds us in his voice, sour and stern. It is all the more so where the relevant facts are so patchy and can be manipulated easily to suit the conscience of a historian who also happens to be a staunch ideologue as insensitive to symbolic language as to transcendental reflections prompted by the human condition which preoccupies some of the best poets and thinkers even in this hi-tech age."

 (पृष्ठ २२१, 'अलाहाबाद १९३०-१९३३', जीवनसेतु, सेतु माधवराव पगडी, १९६९-२०००)

डी डी कोसंबी,  शाम लाल, आणि सेतु माधवराव पगडी

 

ॲनी बेझंट , र. धों. कर्वे...Badass Annie Besant, She Came Before Margaret Sanger, Marie Stopes, R D Karve

य दि फडके: "... ब्रॅडलॉ आणि   बेझंट यांच्या कार्यामुळे महाराष्ट्रातील नेत्यांचे लक्ष संततिनियमनाकडे वळले असावे..." (पृष्ठ ५०, 'र. धों. कर्वे', १९८१). आगरकर संततिनियमनाच्या बाजूने पूर्णपणे होते आणि त्यांचा 'स्त्रीदास्य विमोचन' निबंध- ज्यात संततिनियमन येते- प्रसिद्ध आहे.

अजूनही ॲनी  बेझंट भारतात कीर्तिरूपे 'जिवंत' आहेत. चेन्नई चे उच्चभ्रू वस्ती असलेले बेसंट नगर त्यांच्या नावाची आठवण करून देत असते.

२०२४ च्या सुरवातीला, Michael Meyer यांचे "A Dirty, Filthy Book: Sex, Scandal, and One Woman’s Fight in the Victorian Trial of the Century" हे पुस्तक प्रसिद्ध झाले.

हे ॲनी  बेझंट यांच्यावर झालेल्या १८७७ मधील प्रसिद्ध खटल्यावर आहे.लेखकाचे ह्या पुस्तकाबाबत मनोगत ऐकायचे असेल तर History Extra चा हा पॉडकास्ट ऐका.

In 1877 she was involved in one of the trials of the century when she was arrested for publishing an “obscene” pamphlet about sexual education and birth control. Fruits of Philosophy: or the Private Companion of Young Married People was the Lady Chatterley of its time, except that it was written by a reputable American physician, Charles Knowlton. He explained the physiology of conception and methods to treat infertility and impotence, and briefly described a method of avoiding pregnancy by using a sponge to wash the vagina after intercourse.

Victorian society was scandalised when Besant republished the book from her private printing press. She had insisted that the reprint should have a low price of sixpence to reach the working-class population who could most benefit from effective birth control."

बेझंट ह्यांना बहुतेक भारतीय अगदी वेगळ्या कारणांसाठी ओळखतात.  मी ही त्यातलाच आणि मला ह्या पुस्तकाची परीक्षणे वाचून असे वाटले की मी त्यांना ओळखलेच नाही. 

य दि फडके त्या खटल्याचा उल्लेख वरील पुस्तकात करतात पण त्यातून  बेझंट बाईंना झालेला त्रास, त्याग आणि त्यांचे व्यक्तिमत्व समजत नाही. त्या र धों कर्व्यांइतक्या किंवा जास्तच लढाऊ होत्या, बंडखोर होत्या.

ह्या तर र. धों. कर्वे ह्यांच्या 'पूर्वज' निघाल्या. 

भारतात त्यांनी इतर कार्ये (होमरुल चळवळ, थिऑसॉफिकल सोसायटी वगैरे) न करता संततिनियमन, कुटुंब नियोजना वरती काम केले असते तरी त्या आज तेवढ्याच , किंचित जास्तच लक्षात राह्ल्या असत्या. 

 

Where Does Lighting Come From? John Atkinson Grimshaw

 John Atkinson Grimshaw, “The Gossips, Bonchurch, Isle of Wight” (1880)

"... The lighting comes from different sources: from the moon, through a hole in the clouds, from the glow of a gas lamp and, in the distance, from a window without curtains. Furthermore, the light of the moon reflects both on the water to the left of the painting and on the muddy puddles in the foreground. These different sources of light, together with the leafless trees, help to create a mysterious and romantic play of shadows in the painting..."

"John Atkinson Grimshaw (1836- 1893) is considered, today, one of the great painters of the Victorian era and one of the best and most skilled nocturnal and landscape artists of all time. His love for realism was born from a passion for photography. Influenced by the Pre-Raphaelite style, he created landscapes with accurate light and color, vivid detail and realism. His works often represent, in various seasons and with different climatic situations, city streets, suburban streets and the docks of London, Hull, Liverpool and Glasgow.

In his paintings with a poetic moonlight, with vague atmospheres, from the misty, humid and dark streets, lonely houses, luminous shop windows, gas lights, puddles, solitary figures, still or moving, emerge in contemplation of the landscape."