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."

Showing posts with label Marathas. Show all posts
Showing posts with label Marathas. Show all posts

Monday, April 22, 2024

Implications of Marathas’ Protracted Resistance to the British Onslaught...A Tale of Two Cities- Mumbai and Kolkata

१९व्या शतकाच्या सुरवातीस पेशव्यांनी आणि त्यांच्या अनेक सरदारांनी इंग्रजांशी लढा चालू ठेवल्याचे किती चांगले परिणाम भविष्यात झाले, त्याबद्दल अमिताव घोष काय म्हणतातते पहा:

"...But even though Calcutta and Bombay were both hubs of the opium trade, the ways in which business was conducted in the two cities were completely different. Calcutta was the capital of British India throughout the nineteenth century, and it had the largest number of white residents of any city in the country. Being the seat of British power its economy was largely controlled by the white business community, which was closely networked with colonial officials in India, many of whom invested their savings with them. There were further circles of exclusion even within the white business community, with a group of interconnected merchants of Scottish origin playing a dominant role. Race and community were thus central features of Calcutta’s economic life, with a few Scottish firms exercising oligopolistic control over some parts of the business world. The Marwaris were their only significant competitors.

In Bombay, on the other hand, businessmen from many different backgrounds were able to operate on more equal terms. This was not a chance outcome: it was, rather, yet another legacy of the Marathas’ protracted resistance to the British onslaught because of which ‘Western India was conquered by the British at a later stage than Eastern India, thus escaping the period of unabashed exploitation which cost so dearly to indigenous merchants in Bengal’. As a result,

[T]he ethnic and communal diversity of Bombay’s business world was striking: it included merchants belonging to many communities of Gujarat, including the Parsis, the Hindu Vanias and Bhatias, the Muslim Bohras, Khojas and Memons as well as businessmen from other provinces of India (Sind, Marwar), Baghdadi Jews (the different branches of the famous Sassoon family), non-British Europeans (the Swiss firm of Volkarts), Japanese (Toyo Menka Kaisha) and Britishers of various origins. The contrast was clear with the increasingly polarized and oligopolistic world of Calcutta where only two communities mattered: the Scots and the Marwaris.

The fact that the indigenous merchants of Bombay participated directly in the export trade, spending long spells in China, also meant that they had much more exposure to the outside world, so when the explosive growth of the drug trade slowed down towards the end of the nineteenth century, they were able to transition into other industries, like textiles, yarn manufacturing, steel, cement, hotels and so on. ‘British Bombay, unlike Calcutta, was never essentially a colonial city,’ writes Gillian Tindall. ‘The real life of Bombay was always lived in … a more cosmopolitan and egalitarian setting; in warehouses … in counting houses, in places where samples of raw cotton or opium or silk or ivory or inlay-work were passed from hand to hand.’

 (Chapter 10, 'East and West', 'Smoke and Ashes: A Writer's Journey Through Opium's Hidden Histories', 2023, Amitav Ghosh)

So while Bombay prospered, Calcutta’s economy remained quintessentially colonial, structured around racial and communal hierarchies, and dependent on agricultural products like opium, jute and tea, all wrung out of the soil by underpaid and ill-used workers.

These legacies have lived on...."

त्यात ते मराठी व्यापाऱ्यांचा उल्लेख करत नाहीत पण जगन्नाथ शंकरशेठ (१८०३-१८६५)  यांच्या सारखे यशस्वी व्यापारी तर होतेच. 


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