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."

Monday, March 25, 2024

भर्तृहरी यांचे नीतीशतक आणि ओपेनहायमर यांची ट्रिनिटी स्फोटा आधीची मनोवस्था...Did Kai Bird & Martin J. Sherwin Confuse Bhartṛhari's Śatakatraya with Gita?

आपण ऐकत आलो आहोत आणि आता गाजलेल्या सिनेमात (सेक्सच्या नंतर असो वा चाचणी स्फोट पाहिल्यावर असो) पहिले सुद्धा असेल की ओपेनहायमर यांच्यावर गीतेचा प्रभाव किती होता ते, पण त्यांच्यावर अनेक संस्कृत पुस्तकांचा प्रभाव होता. 

Kai Bird & Martin J. Sherwin त्यांच्या 'American Prometheus: The Triumph & Tragedy of J. Robert Oppenheimer', २००५ पुस्तकात म्हणतात;

"... With his facility for languages, it wasn’t long before Robert was reading the Bhagavad-Gita. “It is very easy and quite marvelous,” he wrote Frank. He told friends that this ancient Hindu text—“The Lord’s Song”—was “the most beautiful philosophical song existing in any known tongue.” Ryder gave him a pink-covered copy of the book which found its way onto the bookshelf closest to his desk. Oppie took to passing out copies of the Gita as gifts to his friends...

One of his favorite Sanskrit texts was the Meghaduta, a poem that discusses the geography of love from the laps of naked women to the soaring mountains of the Himalayas. “The Meghaduta I read with Ryder,” he wrote Frank, “with delight, some ease, and great enchantment. . . .”

Bird & Sherwin पुस्तकात पुढे म्हणतात;

"... That evening, in an effort to relieve the tension, Oppie recited for Bush a stanza from the Gita that he had translated from the Sanskrit:

 In battle, in forest, at the precipice in the mountains

On the dark great sea, in the midst of javelins and arrows,

In sleep, in confusion, in the depths of shame,

The good deeds a man has done before defend him..."

हे गीतेतील नसून  भर्तृहरी यांच्या नीतीशतकातले आहे!

 विकिपीडिया म्हणते:
"... Two days before the Trinity test, Oppenheimer expressed his hopes and fears in a quotation from Bhartṛhari's Śatakatraya:

    In battle, in the forest, at the precipice in the mountains,

    On the dark great sea, in the midst of javelins and arrows,

    In sleep, in confusion, in the depths of shame,

    The good deeds a man has done before defend him."

वने रणे शत्रुजलाग्निमध्ये महार्णवे पर्वतमस्तके वा।
 
सुप्तं प्रमत्तं विषमस्थितं वा  रक्षन्ति पुण्यानि पुराकृतानि।।९७। 
 
( भर्तृहरी यांचे सार्थ नीतीशतक, पृष्ठ ४७)


कलाकार: वसंत सहस्रबुद्धे , वरदा प्रकाशन, १९९४-२०१०
 
It is very clear from following passage that Oppenheimer never confused Bhagavad Gita with Bhartrihari’s Three hundred poems.

In 1960s, "...Oppenheimer received a letter dated 1 February from The Christian Century, a non-denominational magazine, asking him to ‘jot down – almost on impulse’ a list of up to ten books ‘that most shaped your attitudes in your vocation and philosophy of life’. The list he sent them was as follows:

1. Les Fleurs du mal

2. Bhagavad Gita

3. Riemann’s Gesammelte mathematische Werke

4. Theaetetus

5. L’Éducation sentimentale

6. Divina Commedia

7. Bhartrihari’s Three hundred poems

8. ‘The Waste Land’

9. Faraday’s notebooks

10. Hamlet

As an exercise in polymathic showing off, the list is peerless. In just ten titles Oppenheimer has managed to include works of drama, fiction, poetry, mathematics, physics and Hinduism, written in a total of no fewer than six languages: Sanskrit, Greek, Italian, French, German and English..."

(Ray Monk, 'Inside the Centre: The Life of J. Robert Oppenheimer', 2012)