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."

Showing posts with label जी ए कुलकर्णी. Show all posts
Showing posts with label जी ए कुलकर्णी. Show all posts

Wednesday, November 05, 2025

G A Kulkarni's 'Astistotra' and Joseph Conrad's 'The Mirror of the Sea'

 जीएंचे अस्तिस्तोत्र जोसेफ कॉनरॅड यांच्या The Mirror of the Sea , 1906 कडून आले आहे का?

The Mirror of the Sea is Joseph Conrad's true-life account of his seventeen-year odyssey at sea, told through a series of essays. Portraying the ocean as a metaphor against which men could measure themselves, Conrad hints at the themes of his later fictional works.

जी ए कुलकर्णी :

"... समुद्राचा अवजड करडा पडदा स्थिर आहे. त्याच्यात आपली प्रतिबिंबे आहेत म्हणून आपण अस्तित्वात आहो  असे निःशंकपणे खडकांना वाटते. व  ते अलिप्तपणे उभे आहेत.

        समुद्र केवळ निरीक्षक आहे..."

('अस्तिस्तोत्र', १९७१, 'सांजशकुन', १९७५,२०१५)

Joseph Conrad, The Mirror of the Sea': 

"...Already I looked with other eyes upon the sea.  I knew it capable of betraying the generous ardour of youth as implacably as, indifferent to evil and good, it would have betrayed the basest greed or the noblest heroism.  My conception of its magnanimous greatness was gone.  And I looked upon the true sea — the sea that plays with men till their hearts are broken, and wears stout ships to death.  Nothing can touch the brooding bitterness of its heart.  Open to all and faithful to none, it exercises its fascination for the undoing of the best.  To love it is not well.  It knows no bond of plighted troth, no fidelity to misfortune, to long companionship, to long devotion.  The promise it holds out perpetually is very great; but the only secret of its possession is strength, strength — the jealous, sleepless strength of a man guarding a coveted treasure within his gates...."


'Miranda', 1875  by John William Waterhouse  (1849–1917)

 

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Saturday, December 19, 2020

नियती, भास, द ग गोडसे, जीए, हॉर्हे लुईस बोर्हेस...Wyrd, Greek Sense of Fate, the Vastness of the Sea.

नोव्हेंबर २०१७ मध्ये मी हॉर्हे लुईस बोर्हेस (Jorge Luis Borges) यांचे 'Conversations, Volume 2', २०१४ पुस्तक चाळत होतो.  बोर्हेस यांच्या दीर्घ मुलाखतीचे हे पुस्तक आहे.


"...BORGES. And that brings us to the suspicion that the real hero of The Iliad—for us, and perhaps for Homer too—is Hector.
FERRARI. The Trojan.
BORGES. The Trojan, yes, and the title is proof, The Iliad, that is, it refers to Ilion.
FERRARI. To Ilion, that is, to Troy.
BORGES. Of course, because it could have been called the Achillea, like The Odyssey, but no, it’s called The Iliad. Both have a tragic destiny, since Achilles knows that he will never enter Troy, and Hector knows that he’s defending a city that’s condemned to fire and extermination. Both are tragic figures, both struggling, well, Hector for a lost cause and Achilles for what will be a vengeful cause but at a time when he’s already dead, a cause whose triumph he will never see.
FERRARI. One appreciates the Greek sense of fate there.
BORGES. Yes, and then, the vastness of the sea, because in the action of The Iliad we have the battles and also some scenes between the gods . . .
FERRARI. Yes, but it’s very interesting to see the way that each character in The Iliad submits to the fate of the gods, to the Greek sense of fate, we could say.
BORGES. Yes, well, the gods are also subject to it.
FERRARI. In their turn.
BORGES. I think the word that symbolizes fate, in Greek, is equivalent to ‘wyrd’ in Old English. That’s why the three witches at the beginning of Macbeth are also the weird sisters, that is, the fatal sisters or, rather, the Fates. Those sisters are also the Fates and Macbeth is an instrument of the Fates and of his wife’s ambition. How it affects him, well, when she says that he has too much of ‘the milk of human kindness’. That is, one feels that essentially he isn’t cruel, that he’s driven by the prophecy, by his faith in the prophecy which Banquo for his part doesn’t share, because the witches appear, they make their prophecies, they disappear, and Banquo says, ‘The earth has bubbles, as the water has, and these are of them.’ So that he sees in the witches the chance phenomena of the earth, bubbles...."

नियती (destiny) हा शब्द जीएंमुळे खरा माहित झाला... destiny म्हणजे fate (नशीब) नव्हे ....

"Most people use fate and destiny interchangeably, but they aren’t the same. Fate is the life you lead if you never put yourself in the path of greatness. That’s the direction your life moves in without any effort on your part. That’s your fate. Fate is a negative and is defined as the expected result of normal development. Normal development. Never taking a risk is your inevitable fate.
Destiny is your potential waiting to happen. It’s the top tier in the grand scheme of possibilities and where your dreams come true. You have to be willing to take that first step to reach your potential, even if it’s a risk. With great risk comes great failure."

नियती चा वापर भासांनी अतिशय प्रभावीपणे त्यांच्या 'प्रातिमा नाटकात करून घेतला असल्याचे प्रतिपादन द ग गोडसे (D G Godse, A Search शोध द. ग. गोडसेंचा) करतात...

सोबत दोन परिच्छेद - एक जीएंच्या पिंगळावेळ, १९७७ मधील आणि दुसरा गोडसेंच्या 'नांगी असलेले फुलपाखरू', १९८९ मधील....

भासांच्या महानतेची (कदाचित आणखी एक) ओळख करून घेण्यासाठी गोडसेंचा लेख जरूर वाचा... अर्थात नियती चा असा प्रभावी वापर भासांच्या नंतर (गेल्या जवळजवळ 2500 वर्षांत) भारतात कितीजणांनी केला याबद्दल मला शंका आहे ...

जीए म्हणतात तसे भासांच्या रामायणात रामाला सुद्धा नियती पासून सुटका नाही..."देवदेवतांनादेखील नियतीचे नियम" !.....

दोघांच्या साहित्याच्या कॉपीराईट होल्डर्सचे आभार....


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