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, April 03, 2017

...Hatred of Hindus Was the Default Position of Many Influential People in Britain

Jenny Uglow:
"In India in the eighteenth century, before evangelical missionaries and politicians began to demonize Hindu culture, there was considerable fraternization and inter-marriage."

Geoffrey Moorhouse:

“...The last emperor was also known to his familiars as Zafar - the pen name he used when writing poetry - a word which means "victory" and which could scarcely have been less appropriate, given that it was attached to one of history's great losers. For he died five years after the mutiny, in faraway Burma, a frail 87-year-old who was spoon-fed on broth by the handful of family and retainers he had been allowed to take with him into exile. He had been banished not so much for what he did during the mutiny as for what he represented to the mutineers - Hindus as well as Muslims - who regarded him as the touchstone of an old and deeply rooted way of life which the Victorian Evangelicals, who dominated the making and execution of British policy, were determined to replace with the prejudices and habits of muscular Christianity. To them it was vital that Zafar should be put down, precisely because, having a Hindu mother, he appealed to both sides of India's own great religious division....”


William Dalrymple, ‘The Last Mughal: The Fall of a Dynasty: Delhi, 1857’, 2006:

“...Many historians blithely use the word ‘colonialism’ as if it has some kind of clearly locatable meaning, yet it is increasingly apparent that at this period there were multiple modes and very distinct phases of colonialism; there were also many very different ways of inhabiting, performing and transgressing the still fluid notion of Britishness. It was not the British per se, so much as specific groups with a specific imperial agenda – namely the Evangelicals and Utilitarians – who ushered in the most obnoxious phase of colonialism, a change which adversely affected the White Mughals as much as it did the Great Mughals....”

“...As far as the Indian participants were concerned, the Uprising was overwhelmingly expressed as a war of religion, and looked upon as a defensive action against the rapid inroads missionaries and Christianity were making in India, as well as a more generalised fight for freedom from foreign domination. The Great Mutiny has usually been presented by the Marxist historians of the 1960s and 1970s primarily as a rising against British social and economic policies, as both urban revolution and a peasants’ revolts parked off by loss of land rights and employment opportunities as much as anything else. All this certainly played a part. Yet when the Indian participants of the Uprising articulate the reason for their revolt – as they do with great frequency and at some length in the Mutiny Papers – they invariably state that they were above all resisting a move by the Company to impose Christianity and Christian laws on India – something many Evangelical Englishmen were indeed contemplating...”



Jon Wilson, 'India Conquered: Britain's Raj and the Chaos of Empire‘, 2016:
“...British officers thought the concern about animal fat was ridiculous. But Indian fears reflected an accurate understanding of British desires, if not the practical realities of Company rule. Take religion, for example. Among Britons in India, evangelical Christianity was on the rise in the 1840s and 1850s. Most British officers probably did think India’s Muslims and Hindus were infidels who would suffer eternal damnation if they did not convert. Proselytizing pamphlets had been circulated with greater frequency, even in cantonments. European religion and the British government seemed to occupy the same space, as the 1830s and 1840s saw new churches built in cantonments, often bringing the centres of British worship and British power within a few yards of each other. The British did talk about subjugating the whole of India to a single, unitary form of power, even if they saw the East India Company as a decidedly secular kind of authority...”


सतीची चाल अत्यंत क्रूर होती याबद्दल दुमत नाही. बरोबर? पण सतीचे सगळे 'पदर' भारतात कुठे चर्चिले जातात?

विद्वान श्रीमती वेंडी डॉनीगर (Wendy Doniger) त्यांच्या इंग्लिश पुस्तकात, 'दि  हिंदूज : ऍन अल्टरनेटीव्ह हिस्टरी' २००९ (The Hindus: An Alternative History),  मध्ये काय म्हणतात ते पहा:

"...Finally, in 1829, the year after Robertston’s intervention, several years after prominent Brahmins had already spoken up against suttee, and at a time when there were many Indians in the legislature and William Bentinck, an evangelical sympathizer, was Governor-General (1828-1835), the desire to justify their continuing paternalistic rule over Indians whom they characterized as savage children led the British to ban suttee altogether, as well as child marriage, with much self-aggrandizing fanfare.

The British law probably facilitated more women’s deaths than it saved, and its main effect was to stigmatize Hinduism as an abomination in Christian eyes.  Suttee is a pornographic image, the torture of a woman by fire, hot in every sense of the word. Relatively few women died that way, in contrast with the hundreds, even thousands who died every day of starvation and malnutrition, but suttee had PR value. Thus the Raj had it both ways, boasting both that it did not interfere with other people’s religions and that it defended human rights. The debate, in both India and Britain, turned what had been an exceptional practice into a symbol of the oppression of all Indian women and the moral bankruptcy of Hinduism. Nor did the 1829 law, or, for that matter, the new legislation enacted by India after its Independence put an end to it; at least forty widows have burned since 1947..."

बहुतेक सर्व भारतीयांना ह्यातल काही सांगितल जात नाही. उदा: गव्हर्नर जनरल बेंटिंक कसे 'एवंजेलिकल सिम्पथायझर' (evangelical sympathizer) होते. सतीबंदी कायद्यामुळे जेवढ्या बायका  वाचल्या त्यापेक्षा जास्त मेल्या. तसेच त्या कायद्याचा एक प्रमुख परिणाम म्हणजे ख्रिस्ती धर्मवासियांच्या डोळ्यात हिंदू धर्माबद्दल  घृणा निर्माण होऊन तो कलंकीत  झाला.

ह्या पोस्टच्या वरती दिलेली अवतरणे नीट वाचा. २१व्या शतकाआधी  मी कधीही वाचले नव्हते की, मोठ्या प्रमाणात, ब्रिटिश १९व्या शतकात भारतात धर्मपिसाट झाले होते म्हणून. हे का? आपण १९४७साली 'निधर्मी' झालो होतो म्हणून? का आपल्याला कॉमनवेल्थ जॉईन करायच होत म्हणून? म्हणजे मुघलांना धर्माबाबत कोणी काही म्हणाव पण ब्रिटिशांना नाही! का तर त्यांची आपल्याला आता गरज आहे, आपल्या कझिन्सना तिथ स्थायिक व्हायचय, त्यांच्या हातात जगातला प्रमुख लिबरल मीडिया आहे, ते आता प्रचंड श्रीमंत आहेत...!

महाराष्ट्रातील, माझ्या आवडत्या, २०व्या शतकातील महत्वाच्या विचारवंतांनी सुद्धा ब्रिटिशांच्या ह्या पैलूबद्दल खोलात जावून लिहल्याच आठवत नाही.  उदा - डॉ. आंबेडकर, श्रीपाद  कृष्ण, राजवाडे, शेजवलकर, र धों कर्वे, दुर्गा भागवत, सेतु माधवराव पगडी ...

शशी थरूर (Shashi Tharoor) यांचे 'इनग्लोरियस एम्पायर' ( Inglorious Empire) नावाच पुस्तक २०१६/२०१७ साली प्रसिद्ध झाले. बऱ्याच चर्चेत आहे ते पुस्तक सध्या.

Mr. Tharoor's book proves how bad the rule was for India.

Mr. Mihir Bose states in the December 2016 issue of History Today how "distrust of Hinduism was rife among Britain’s ruling class".

“...Yet Churchill was not the first to want to destroy Hinduism. For more than 200 years, hatred of Hindus was the default position of many influential people in Britain. The man who set this agenda was James Mill, whose 1817 text book The History of British India, became the most important at Haileybury College, where the civil servants of the East India Company were taught. ‘The Hindus’, Mills wrote, ‘are full of dissimulation and falsehood, the universal concomitants of oppression. The vices of falsehood, indeed they carry to a height almost unexampled among the other races of men.’ As for religion, Mill wrote,  ‘No people … have ever drawn a more  gross and disgusting picture of the universe than what is presented in the writings of the Hindus.’ ...”

"...After the revolt of 1857 there were calls to eradicate Hinduism. The Baptist preacher Charles Spurgeon told a congregation of 25,000 at Crystal Palace that ‘such a religion as the religion of the Hindoo, the Indian government were bound, as in the sight of God, to put down with all the strength of their hand’. And even after the British had left India, Hinduphobia persisted. Francis Tuker, who spent 33 years in the Indian Army, retired as head of Eastern Command in 1950. Writing of independent India, he feared the advance of Communism there: ‘The Iron Curtain … clanks down between Hinduism and all other systems and religions.’ Hindu India was entering a precarious phase, when it might swap its gods for another. ‘Its religion, which is to a great extent superstition and formalism, is breaking down … Communism will fill the void left by the Hindu religion. It seemed to some of us very necessary to place Islam between Russian Communism and Hindusthan.’..."

As is well known, many Indians were executed by blowing them from canons. Based on that, the above 'cartoon' appeared in Sydney Punch dated November 1868.


The third line in the caption says: "(Taken from an East Indian Recipe which was found remarkably efficacious, some years ago.)"
 

Friday, March 31, 2017

中华人民共和国...Dong Kingman's China

Today March 31 2017 is 106th birth anniversary of Dong Kingman, a watercolour artist. 

I watched Nicholas Ray's  '55 Days at Peking', 1963 sometime in 2016. The film is pretty average, although, as always, David Niven stands out.

But what caught my attention was 'Title Paintings' of the late Dong Kingman and the music composed by Dimitri Tiomkin.

Mr. Kingman paintings are so moving that I feel they are almost wasted on that film!  I wish he and the late Mr. Satyajit Ray worked together for at least one feature...


 
 















courtesy: Allied Artists, the artist and the current copyright holders

Monday, March 27, 2017

जागतिक रंगभूमी दिन आणि तंजावरचा मराठी राजा

आज मार्च २७ २०१७ला असलेल्या जागतिक रंगभूमी दिनानिमित्त, मी सुरु केलेल्या काही फेसबुक स्मारकांवर, काल प्रसिद्ध केलेली पोस्ट... 

 साभार :  द ग गोडसे, 'नांगी असलेले फुलपाखरू', १९८९, पृष्ठ: ८१


वरील  माहिती २०१७ साली नवी नसेल,  पण ती कै द ग गोडसेंच्या प्रभावी सादरीकरणामुळ वाचायला मजा येते.... आणि ज्यावेळी आपण मराठी म्हणतो त्यावेळी आपण कधी कधी किती लघु दृष्टीने पाहतो हे विचार करण्याची गोष्ट आहे...

अटकेपर्यंत गेल्याचा अभिमान असू द्या पण आजच्या समृद्ध, रसरशीत आणि अनेक महापुरुष व स्त्रीयांनी मशागत केलेल्या अशा कर्नाटक संगीताचा महावृक्ष तंजावर दरबारामुळे फोफावला  ही माझ्यामते जास्त अभिमानाची गोष्ट आहे....अमेरिकेची खरी सत्ता तीच्या 'सॉफ्ट पॉवर' मधून येते, हायड्रोजन बॉम्ब मधून नाही, इराक वरच्या विजयातून नाही....

तंजावरचा विचार आपण कोल्हापुर आणि साताऱ्याच्या बरोबरीने किमान विसाव्या शतकात तरी करायला हवा होता...

[वर दिलेला छोटा परिच्छेद गोडसेंच्या 'शतायुषी सौभद्र' या एकमेवाद्वितीय मराठी लेखातून घेतला आहे.
मराठी (किमान मध्यमवर्गीय) संस्कृतीचे आभूषण ठरलेल्या संगीत सौभद्रची ही जन्मकथा आहे.
आपले सर्वस्व पणाला लावून गोडसेंनी या शिल्पाची रचना केली  आहे. त्यांच्यातील रसिक, नेपथ्यकार, वादक, सूक्ष्म वाचक, चित्रकार, लेखक, इतिहासाचा अभ्यासक, नाटकाचा प्रेक्षक, साहित्य टीकाकार....एका हार्मनी मध्ये वाजताना या लेखात ऐकू येतात.
हा बत्तीस पानी लेख जरूर वाचा. मात्र कृपया एक लक्षात असू द्या - मी तो लेख येथे देऊ शकणार नाही.]

जागतिक रंगभूमी दिन आणि आपण...World Theatre Day

Today March 27 2017 is World Theatre Day


Artist: K J Lamb, The Spectator, UK

Friday, March 24, 2017

फ्रान्झ काफ्कांची एक आवड: भारतीय नाचणारी मुलगी ....Franz Kafka and Nautch Girl



William Dalrymple,  ‘White Mughals: Love and Betrayal in Eighteenth-Century India‘, 2002:

“...‘Nautch parties and mehfils in Hyderabad at this period, as in Delhi and Lucknow, tended to be held outside at night in the illuminated garden courtyards of the great palaces. Some of the most alluring descriptions of such parties are given by Farzand Begum’s grandfather, Dargah Quli Khan, who writes how, in the evenings, the courtyards are swept and sprinkled with water and colourful carpets are spread on a raised platform. Then the established poets start the recitation of ghazals … [sometimes] shamiana tents are erected … Dancers entertain the people and good looking women gather in such large numbers that the mere sight of them appeases the appetite, although for the lecherous this does not suffice. The illumination of the lamps and candles is akin to the light in the Valley of Tur. The omrahs occupy a separate side which is adorned with most beautiful carpets. They are courteously offered fruits and other delicacies along with perfume. Those desirous of wine are also provided with it … The sounds emanating from the bow on the strings of the sarangi are like arrows piercing the heart … The music makes people listless with ecstasy and the sounds of appreciation rend the air …”

कै विलास सारंगांना काफ्का खूप आवडायचे...एक मानदंडच होते काफ्का त्यांच्यासाठी...काफ्का म्हणजे वास्तव आणि अद्भुताचे मिश्रण करणारा महान कलावंत...

अद्भुताचे वावडे भारतीयांना कधीच नव्हते...म्हणून भारतीय परंपरेला जवळचा पण ...दुर्दैवाने  मराठी लेखकांनी / टीकाकारांनी / वाचकांनी कित्येक दशके दुर्लक्षिलेला....

रायनर स्टॅक (Reiner Stach) यांचे फ्रान्झ काफ्कांचे त्रिखंडात्मक नावाजलेले चरित्र या शतकात प्रसिद्ध झाले.
स्टॅक लिहतात:

"...Since very few people at that time had seen remote continents for themselves, exoticism was an essential component of the early entertainment industry; but beyond the element of surprise and of foreignness, Kafka was eager to immerse himself in images of nonwhite people and foreign cultures, and he could spend hours listening to people talk about Palestine, Japan, or America, as though taking solace in the fact that a completely different life on this planet was not just the stuff of dreams, but a reality. The “tribal dances,” Kafka later wrote to Felice Bauer, made more sense to him than the annoying singing and hand-clapping his father used to entertain a grandchild. He meant what he was writing: The exotic opened his eyes to magnificent and entertaining utopian vistas.

“What the French woman can do / I can do too. / There’s not much to it—that’s for sure / They just have that French allure / That’s why they have more luck. / But the woman from Vienna does show some pluck.” More popular tune than chanson, warbled with skirts raised high and flicked back and forth, legs kicking way up. Brod dubbed the performance “the wisdom of the cabaret”; it was deemed suitable for minors and thus also for women.

Chantant, variété, cabaret—a series of chiefly French terms were applied to the entertainment spots at which things of that sort were offered, and the advertisements that appeared in the Prague newspapers on a daily basis indicate an astonishing kaleidoscope of performances. There were chansonettes with highly trained voices alongside buffoons, stand-up comedians, and brash emcees; there were satirical and “spicy” scenes; women performing “Indian” dances and exotic-looking singers; striptease acts that were advertised as “veil dances”; one-act vaudeville-style operettas; Japanese performers—and on occasion one could also marvel at Viennese celebrities such as the chansonette Mela Mars (a member of the art nouveau cabaret known as Die Hölle [“Hell”]) or the actor and trend-setting cabarettist Egon Friedell, whose posters never failed to mention that he held a doctorate. “Generally speaking, I quite appreciate these sorts of things,” Kafka wrote to Felice Bauer, “I believe I grasp them from deep down, from incalculably deep down, and enjoy them with a racing heart.”..."

... आणि मॅक्स ब्रॉड (Max Brod) ना लिहलेल्या १६ डिसेंबर १९०६च्या  एका पत्रात काफ्का लिहतात:
"My dear Max,
When are we going to the Indian dancing girl, since the other young woman has escaped us, her aunt for the present being stronger than her talent.

Franz"

Dancing girl Malageer 

(courtesy: William Dalrymple's another book 'The Last Mughal: The Fall of a Dynasty, Delhi, 1857', 2006)

 मला ते 'aunt' वाचून  हसू आले .... भारतीय परफॉर्म करणारी मुलगी म्हणजे aunt पाहिजेच!

गाजलेल्या खालील चित्रात, सगळ्यात डावीकडे बसलेल्या, इतर पाच नाचणाऱ्या मुलींच्या aunt असाव्यात ...


'A Group of Courtesans', sometime 1800-1825

Artist:  possibly Ghulam Ali Khan

courtesy: B. N. Goswamy's 'The Spirit of Indian Painting: Close Encounters with 101 Great Works 1100-1900', 2014
 

Monday, March 20, 2017

उदासतेला जहरी डोळे: मर्ढेकर मरणदिन....Melancholy Has Disquieting Eyes

Today March 20 2017 is 61st Death Anniversary of  B S Mardhekar ( बा.सी.मर्ढेकर)



                                                           Artist: Steve Cutts
 

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 !"

Translated  by Vilas Sarang (विलास सारंग):

"Mice Died in the Wet Barrel

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!"

Saturday, March 18, 2017

Of Violence and Sex....Of Mice and Men

John Steinbeck's 'Of Mice and Men' was published 80 years ago in 1937.

As Wikipedia states, it also is at number 5 on the list of the Most Challenged Books of 21st Century.

Maybe the following is reason...violence and sex.....

Artist: Vic Lee, 2015


Wednesday, March 15, 2017

Journey of a Cartoon 1970 To 2017: Welcome to USA... Go Back




Artist: Henry Martin (1925-), The New Yorker, April 18 1970

And with deepest apologies to Mr. Martin.....