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."

Friday, November 03, 2017

बकासुर नरमास खायचा खर आणि हस्तिनापुरातील आर्य?...Bakasur's Cannibalism and Mahabharata

अरुण कोलटकर, 'द्रोण', २००२/२००४:
"... 
इन फॅक्ट
नरमांस व वानरमांस 

हे लंकेतील सर्व 
जातिवंत खवैय्यांच्या खास आवडीचे 
व मेनूमधून 

जाणीवपूर्वक वगळण्यात आलेले 
दोन पदार्थ सोडले 
तर सगळं होतं तिथं

असं म्हटलं तरी चालेल,
..."

3rd Fisherman: I marvel how the fishes live in the sea.

1st Fisherman: Why, as men do a-land; the great ones eat up the little ones.

— William Shakespeare, Pericles, 1619, act 2, scene 1

"...Bak rakshasha
The wanderings of the Pandavas led them to the village of Ekchakra. They took shelter in the house of a Brahmin.
Bak, a wicked monster, lived in the village. Every day one man from the village would carry a large portion of rice and buffalo meat for him and Bak would eat the food and the man.
Then, it was the turn of the man who had given shelter to the Pandavas. His family shed copious tears. Kunti assured them, ‘Don’t worry. Today Bheema will go, he will kill Bak.’
Bheema went to Bak and started eating Bak’s food in front of him. Bak’s blows and kicks did not interrupt Bheema’s eating. After eating to his heart’s content, Bheema turned his attention to Bak. He threw him to the ground and crushed him to death.
Hearing Bak’s screams, the monsters came rushing. Bheema roared, ‘I am warning you! If you ever eat humans again, I will kill all of you.’ The monsters said, ‘Yes sir! We promise never to do such things again.’..."

(from 'Penguin Companion to the Mahabharata', 2007, by Bishnupada Chakravarti

बकासुराची गोष्ट अर्थातच पहिल्यांदा माझ्या आईकडून ऐकली. त्याच खूप खाण वगैरे याचे विशेष आश्चर्य वाटत नसे , कारण माझी स्वतःची भूक पण वाढतच होती पण तो माणूस खायचा या गोष्टीकड आईसकट आम्ही सगळे दुर्लक्ष करायचो. 

पण नंतरच्या वर्षात केंव्हा तरी ते आत जाणवल आणि भीती वाटली.

अरुण कोलटकरांची वरची कविता पहा : जातिवंत खवैय्यांचे खास आवडते नरमांस आणि वानरमांस लंका-विजयाच्या पार्टीत नव्हते, आज जसे बऱ्याच मेन्यूनमध्ये गोमांस आणि वराहमांस नसते तसे. 

फिलिप फेर्नांडेज-अर्मेस्टो (Felipe Fernandez-Armesto) लिहतात:
"... Cannibalism existed. The reality of cannibalism as a social practice is not in any genuine doubt. To judge from archaeological evidence, moreover, it has been extremely widespread: human bones snapped for marrow seem to lie under the stones of every civilization. And as the tally of observed cases grew, the assumption that cannibalism was an inherently aberrant activity, abnormal or unnatural, became ever harder to sustain...."
('Near a Thousand Tables: A History of Food', 2001) 

तेंव्हा काव्यातील बकासुर माणूस खायचा पण अनार्यांच्या नरमास भक्षणाबद्दल आर्यांनी केलेल्या लिखाणाबाबत नेहमीच  शंका व्यक्त केली पाहिजे. 

"In the late Middle Ages and, with diminishing force, in the sixteenth and seventeenth centuries, it was an extremely useful attribute to ascribe to one's enemies; for cannibalism, like buggery and blasphemy, was classed as an offense against natural law. Those who committed it put themselves beyond the law's protection. With impunity, Europeans could attack them, enslave them, forcibly subject them and sequester property from them." (ibid)

आणि स्वतः युरोपियन लोक काय करत होती?
"...But, as Schutt points out, we are discriminating about what we call cannibalism. Historical claims about savages eating one another are sometimes wildly hyperbolic, or lacking in proof, Schutt finds. Accusations are often undergirded by racism and opportunism. When Spain was exploring and exploiting the Caribbean during the 1500s, a 1510 papal decree that Christians were morally justified in punishing cannibals meant that on “islands where no cannibalism had been reported previously, man-eating was suddenly determined to be a popular practice.” Yet Renaissance-era Europeans who would have been disgusted by reports of people-eating rituals in faraway places nonetheless practiced what Schutt called medicinal cannibalism. “Upper-class types and even members of the British Royalty ‘applied, drank or wore’ concoctions prepared from human body parts,” Schutt writes. And blood was consumed to treat epilepsy:
So popular was this practice that public executions routinely found epileptics standing close by, cup in hand, ready to quaff their share of the red stuff...."
(Libby Copeland, review of Bill Schutt, 'Eat Me: A Natural and Unnatural History of Cannibalism', 2017)

मला जस बकासुराच खाण समजायला लागल तसा हा प्रश्न पडायला लागला की तो माणूस कसा खायचा कसा? कच्चा ? भाजून-शिजवून?


                                                            Italian engraving, 1781




कलाकार: देवदत्त पटनाईक, दीपक सुतार, 'Jaya: An Illustrated Retelling of the Mahabharata', 2010

Thursday, November 02, 2017

Duel



“One of you will always wonder if this could have been settled differently.”
 
Artist: Frank Cotham, The New Yorker, Feb 23 2015

Sunday, October 29, 2017

...शेवटी शेवाळ आलं ओठांपर्यंत साठून / थडग्यांवरची नावं झाकून गेली...When A Quiet Passion Dies

एमिली डिकिन्सन (Emily Dickinson) १८३०-१८८६ या माझ्या आवडत्या कवी आहेत.  त्यांच्या कविता आणि काही प्रसिद्ध paintings असलेले खालील पॉकेट बुक साईझ चे पुस्तक मी २००२साली विकत घेतले आहे. 


त्यांच्या जीवनावरचा  'ए क्वायेट पॅशन' (A Quiet Passion), २०१६ नावाचा सुंदर सिनेमा ऑक्टोबर २०१७मध्ये पहिला.... सिंथिया निक्सन (Cynthia Nixon) यांचा अभिनय हलवून टाकणारा आहे.... 

डिकिन्सन यांनी एकूण १८०० कविता लिहिल्या. त्यातील जेमतेम फक्त एक डझन कविता त्यांच्या जिवंतपणी प्रकाशित झाल्या होत्या! 

मला एका गोष्टीची उत्सुकता आहे की महाराष्ट्रातील कवींना डिकिन्सन पहिल्यांदा केंव्हा वाचायला मिळाल्या? केशवसुत , बालकवी, गोविंदाग्रज, नाट्यछटाकार दिवाकर , माधव जूलियन इ. यांनी डिकिन्सन वाचल्या होत्या का? आणि असल्यास केंव्हा?

आनंदाची आणि थोडी आश्चर्याची गोष्ट म्हणजे श्री मधुकर नाईक यांनी डिकिन्सन यांच्या १५२कवितांचा अनुवाद १९९० साली मराठीत केला आहे: 'एमिली डिकिन्सन्: निवडक कविता : (विवेचक प्रस्तावना व टिपांसहित)'. 

या पुस्तकात ज्या लेखकांचा डिकिन्सन यांच्यावर प्रभाव होता त्यात एमिली ब्रोंटे (Emily Brontë) यांचे नाव येत नाही पण सिनेमात मात्र ब्रोंटे प्रामुख्याने उल्लेखल्या आहेत. 

नाईक लिहतात:


इलियट, ऑडेन, मर्ढेकर, सदानंद रेगे यांच्या मार्गे सुद्धा डिकिन्सन आपल्यापर्यंत पोचत असतात. रेगे आणि त्यांच्यात तर खूप साम्य वाटते : निसर्ग, प्रेम, (कदाचित) नसलेला देव, येशूचा अंत, मृत्यू...आणि ह्या शिवाय, अगदी रेगे छाप,... "Dickinson's poetry frequently uses humor, puns, irony and satire"...

खालील कविता मी त्यांची वाचलेली पहिली कविता ... अतिशय आवडलेली (त्यात भरपूर प्लेटो असून!).... विशेषतः moss had reached our lips, And covered up our names....ह्या ओळी....
 
"I died for beauty, but was scarce

Adjusted in the tomb,
When one who died for truth was lain
In an adjoining room.
He questioned softly why I failed?
“For beauty,” I replied.
“And I for truth,—the two are one;
We brethren are,” he said.
And so, as kinsmen met a night,
We talked between the rooms,
Until the moss had reached our lips,
And covered up our names."

 
वरील कवितेचा नाईक यांनी केलेला अनुवाद पहा:
 सौजन्य: श्री मधुकर नाईक
सौजन्य: कॉपी राईट धारक

Wednesday, October 25, 2017

मर्ढेकरांनी चुकीचा प्राणी निवडला...पिपांत चढले ओल्या उंदिर!...Hardly Poor Bastards Living in Holes Without Desire

(मी मिरजेला  रहात असताना , १९६१-१९८१, 'चढणे ' हा शब्द  'संभोग  करणे' या क्रियापदाला  समानार्थी शब्द म्हणून वापरला जात असे.)

Poem no#  21  from "Mardhekarnchi Kavita" (मर्ढेकरांची कविता), 1959:
"पिपांत मेले ओल्या उंदिर;
माना पडल्या, मुरगळल्याविण;
ओठांवरती ओठ मिळाले; 
माना पडल्या, आसक्तीविण.
गरिब बिचारे बिळांत जगले,
पिपांत मेले उचकी देउन;
दिवस सांडला घाऱ्या डोळीं
गात्रलिंग अन् धुवून घेउन.

जगायची पण सक्ती आहे;
मरायची पण सक्ती आहे.

उदासतेला जहरी डोळे,
काचेचे पण;

मधाळ पोळें
ओठांवरती जमलें तेंही
बेकलाइटी, बेकलाइटी!
ओठांवरती ओठ लागले;
पिपांत उंदिर न्हाले ! न्हाले !"

पूर्वी दिल्याप्रमाणे विलास सारंग (Vilas Sarang) ह्या कवितेचा अनुवाद असा करतात:

"Inside the waterlogged drum, the mice are dead,
Their necks hang, wrung by nobody.
The necks hang, and lips meet lips
Without desire.
Poor bastards lived in holes,
And, with a hiccup, died in the drum.
Day spilled into gray eyes,
rinsed their limbs and genitals.

Living is obligatory;
so, too, is dying.

Melancholy has disquieting eyes;
they are glass ones, though.

Even the honeycomb
brimming on their lips
is merely foam rubber!
Lips nuzzling lips:
O the mice are douched in the drum!
the mice are douched!"

मर्ढेकरांची ही कविता वाचून ज्या माणसांवरती हे रूपक केले आहे त्यांच्या बरोबरीने उंदरांची पण दया येते...  पण खरे उंदीर असे जगतात का?

ऑक्टोबर २०१७मध्ये LRB मध्ये Sean Wilsey यांचा न्यूयॉर्क शहरातील  उंदरांवरचा लेख वाचला : "Some of them can read"

मर्ढेकर म्हणतात :
"... ओठांवरती ओठ मिळाले;
माना पडल्या, आसक्तीविण...."

LRB लेख सांगतो:
"...A third of the world’s food supply is consumed or destroyed by rats. Rats have eaten cadavers in the New York City coroner’s office. Rats have attacked and killed homeless people sleeping on the streets of Manhattan. There are more rodents currently infected with plague in North America (mostly in rural western states: Wyoming, Montana, Colorado) than there were in Europe at the time of the Black Death. Whenever we see a rat, it’s a weak rat, forced into the open to look for food; the strong ones stay out of sight. Brown rats survived nuclear testing in the Pacific by staying deep down in their burrows. There have always been rats in the White House.... A ‘dominant male rat may mate with up to twenty female rats in just six hours,’ Sullivan says.
Male rats exiled from their nest by more aggressive male rats will also live in all-male rat colonies and have sex with the other male rats. The gestation period of a pregnant female rat is 21 days, the average litter between eight to ten pups. And a female rat can become pregnant immediately after giving birth. If there is a healthy amount of garbage for the rats to eat, then a female rat will produce up to 12 litters of 20 rats each a year. One rat’s nest can turn into a rat colony of 50 rats in six months. One pair of rats has the potential of 15,000 descendants in a year.
As Mitchell more concisely puts it, ‘rats are almost as fecund as germs.’..."

त्यामुळे आसक्ती नाही असे म्हणणे धाडसाचे होईल! (दुसरी गोष्ट पहा homosexuality ही बिलकुल unnatural नाही.)

"गरिब बिचारे बिळांत जगले,
पिपांत मेले उचकी देउन;

जगायची पण सक्ती आहे;
मरायची पण सक्ती आहे...."

खरे उंदीर:
"... ‘Rats that survive to the age of four are the wisest and the most cynical beasts on earth,’ an exterminator told Mitchell sixty years ago. ‘A trap means nothing to them, no matter how skilfully set. They just kick it around until it snaps; then they eat the bait. And they can detect poisoned bait a yard off. I believe some of them can read.’..."


Joseph Mitchell: “The brown rat is hostile to other kinds; it usually attacks them on sight. It kills them by biting their throats or by clawing them to pieces, and, if hungry, it eats them . . . All rats are vandals, but the brown is the most ruthless . . . Now and then, in live-poultry markets, a lust for blood seems to take hold of the brown rat. One night, in the poultry part of old Gansevoort Market, alongside the Hudson, a burrow of them bit the throats of over three hundred broilers and ate less than a dozen. Before this part of the market was abandoned, in 1942, the rats practically had charge of it. Some of them nested in the drawers of desks. When the drawers were pulled open, they leaped out, snarling.”

हे सगळे वाचून वाटते मर्ढेकरांनी चुकीचा प्राणी निवडला! म्हणजे कोरडे उंदीर ओल्या पिपात किंवा ओले उंदीर कोरड्या पिपात मेले असतील, पण त्यांची अवस्था माणसांसारखी दयनीय नसावी. गरिब बिचारे तर ते नक्कीच नाहीत. 


“We gave cocaine to some and not to others and now there’s a full-on drug war.”


Artist : Zachary Kanin, The New Yorker, June 29 2015