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, January 16, 2026

नया आणि नय्यर दौर ...Chain-se-hamko-kabhi O. P. Nayyar@100

 Anirudha Bhattacharjee & Balaji Vittal, ‘Gaata Rahe Mera Dil: 50 Classic Hindi Film Songs’:

“EVEN during the ‘glorious sixties’, there was something about the years 1964 and ’65. They saw the release of Laxmikant–Pyarelal’s Dosti, Roshan’s Chitralekha, Shankar– Jaikishan’s Sangam, O.P. Nayyar’s Kashmir Ki Kali, Naushad’s Leader, Khayyam’s Shagoon, Kishore Kumar’s Door Gagan Ki Chhaon Mein, Chitragupta’s Ganga Ki Lehrein, Ramlal’s Geet Gaya Pattharon Ne and Hemant Kumar’s Kohra….

...‘Chain se hamko’ is one of the best examples of his melody. Asha has said, in various interviews, that Nayyar had used the bass aspect of her voice to great effect, and surely this song, starting on Pa and spiralling to Sa on the Madhya saptak as the last note of the mukhra, is a prime example. Composed in C sharp scale, the song does not go beyond the lower Sa on the Taar Saptak, while there is the ephemeral use of the Komal Ga and the Teevra Madhyam in the second antara, adding a little drama to the melody that could pass as a lullaby had it not been for the sense of deep pain.”

अशोक दा. रानडे ओ पी नय्यर यांच्या वर विस्ताराने (पृष्ठ २१७-२२२) त्यांच्या 'हिंदी चित्रपटगीत : परंपरा आणि अविष्कार", २०१० मध्ये लिहतात. त्यातील छोटा भाग सोबत. 



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