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Literature & Music (Translations, Discussions, Sharing Music & Views)

This is the post excerpt.

Pu La Transformational Stories, Peston Kaka reposted blog to further refer to Siddharud Swamy referred by Peston Kaka .. Ashok Ranade interview of Pt Mansur .. 12 minutes play and you hear about the Swamy … 
Pu La ’s transformational stories: Cultural Symbiosis in his story Pestonji or Peston Kaka: 
When I shared my earlier blog on Pu La (Acharya P K Atre’s article on him in Maratha 1965) with one of my creative writer Marathi Playwright friend he didn’t seem to be pleased on my choice of writers : Prahlad Keshav Atre and Purushottam Lakshman Deshpande. <br>

The possible reason could be that these writers being pro establishment or that they were not vociferously supporting the class and caste annihilation through their writing. Their sensibilities were probably close to the middle class. 
My friend and host of others are surely still under the spell of Marx and his ideas of social transformation. Therefore, I have deliberately given the title to this blog as ‘Transformational Stories of Pu La’
However, in today’s post modern world in which we believe that technology is a great leveller it will be wrong to straight jacket writers in certain categories or classify them among the various sections in the society. 
Atre was the first playwright after Deval’s Sharada and Gadkari’s Sindhu who made the woman to leave the family in his play Gharabaher (घराबाहेर) 

Later M G Rangnekar adapted Ibsen’s Doll’s House in his Kulvadhu (कुलवधू) 

In our blindly following western critics and their theories we throw all old writers in the category of pro-establishment writers. This has two serious bad effects. The literature in which today’s young generation might take keen interest .. we are deliberately drawing them away from those classics. In our attempt to force them to toe our intellectual line we give them exposure only to so called anti establishment literature which is not read out of literature classes in which there is a miniscule minority of young reading public and they too read it for the sake of examinations. 
My friend’s anger on Pu La seems to be in this line. However, how can we forget his Phulrani? (ती फुलराणी) , the beautiful adaptation of My Fair Lady, which was an adaptation of Shaw’s Pygmalion. 

In the original play Shaw has shown the transformation of a slum girl who sells flowers into a princess by the means of her refined language and polished manners which she displays in a public gathering. 
Mastery on language transforms our personality. Our status in society changes irrespective of our family background. I as a student and teacher of English have experienced this in my career of 33 years. Students who took hard efforts at their B A English in a college in whatever small village in India in last few decades have been extremely successful in their career in big metros as teachers of English, advocates , corporate persons , bank officers etc. 
Now, when I see actual message of Shaw’s play transformed in reality like this how can I term him as old fashioned pro establishment writer,  pro empire writer and how can I force my students to uphold only modern playwrights because we have given them the label of 

anti-establishment? Does the so called modern sensibility mean that we should throw all that’s old into a dustbin?  
There is indeed a sound alternative to that. We must Re introduce our students and reading public to old classics but in a different transformational perspective.  Well , the whole discussion is diverted to the importance of these old writers and searching a new insight in their works.
The work under discussion here is a story by Pu La called Peston Kaka ( the English version would be Pestonji ) in which an Asst Foreman, who worked earlier under the British officers , is now retired from Railway and he is shown as having  extremely high knowledge and taste in classical music (Abdul Karim Khan),  religious compositions (Gopala karuna kyon nahi ave of Khansaheb , Tukaram’s  abhangas of Vishnupant Pagnis) , Hindu spirituality (Vivekananda, Siddharur Swami in Hubli … ……..

………..

by the way this Siddharur Swami is referred by Ashok Ranade in his interview of Pt Mallikarjun Mansur… taken in 1960-70s for Doordarshan but available on You Tube …I don’t know how the name is spelt or pronounced .. Siddharur or Siddharood, another point I want to make here is that Pt Mansur ran away from home two times and his father anxiously brought him to this Swamy .. obviously a Lingayat Mathpati Swamy .. and Ranade tells us that this Swamy was a great supporter of music. He had blessed Pt Keshavrao Bhosale who is considered as a better natyageet exponent than Balgandharva or Master Dinanath Mangeshkar .. reference Vidyadhar Gokhale .. well my point is that can someone give me one name and of a Hindu Swami or a spiritual leader who blessed art and music and gave to the listening public such diamonds like Keshavrao and Mansur ? Now , the Karveer Peeth Shankaracharya Vidyanand Bharati was a Keertankar and is the son of a great Gwalior Gharana singer Keertankar Karhadkar Buva but his gayaki is lost in the heavily ritualistic nature of Hindu religion .. I’m sorry to say this but it’s a fact. I have heard this Karveer Shankaracharya ’s Keertan in my childhood and have been fortunate to chew the first ever areca nut .. or arica nut .. सुपारी to put it in simple terms from his nut cracker अडकित्ता sitting on his laps, so my observation is based on my own experience) , … 
Well, coming back to Peston Kaka .. He displays this knowledge in informal talk to the writer in a train journey. He is such a romantic and loving husband that he is still sensually tickled at the age of 78 when his wife pinches him. I think Pu La attacks the very pro-establishment middle class sensibility by portraying this character. Music, Literature , Spirituality is not the ‘jagir’ or monopoly of a certain caste or class. Whoever is exposed to good music, effective communication skills at an early age can easily share the elitist sensibility or can move with confidence among intellectuals, corporate persons and scholars. 
Pu La gets down at the next station and he shows the stark contrast between his own seemingly hypocrite ideas of being famous, having high taste and a scholar and Peston Kaka (actually under You Tube the pronunciation is written in Marathi as पेस्तन काका so I spelled it as Pestan earlier but my Parsee friend corrected it as Peston and I wrote this blog with corrections and additions) who has entered into the core of music and literature. 
The thing to be noted is that he is not a teacher , artiste or a professional… these type of middle class persons are popularly portrayed by writers or are popularly considered by general public as the owners of good taste in music , stage and literature. (Read this as : Marathi middle class , Puneites , Mumbaikars or all such people living in other towns but who take pride in displaying a lineage to these towns)  … 
Peston Kaka was born in Mumbai but he has settled in Hubli (actually Hubli , Dharwad are the towns which are again described by Punekars as small Punes but these towns gave great artistes like Pt Bhimsen Joshi , Vidushi Gangubai Hangal to Hindustani Classical Music and since Bhimsen chose Pune for certain autobiographical concerns in his life Punekars got the advantage to associate them to great Marathi middle class taste. Pt Kumar Gandharva from Athni and Pt Mallikarjun Mansur from the village with his surname .. these artistes hail from Karnataka)
Peston Kaka is from Mumbai and is settled in Hubli .. he refers to Ustad Abdul Karim Khan Saheb singing his famous bhajan in Bhairavi “ Gopala karuna kyon nahi aave .. गोपाला करूणा कयों नही आवे। .. in a concert in Hubli. Karim Khan Saheb lived in Miraj. He founded the Kirana Gharana. His disciple Rambhau Kundgolkar alias Pt Sawai Gandharva lived in Kundgol near Jamkhindi . Bhimsen , Firoze Dastur lived at Kundgol and learnt music from him. Gangubai used to travel from Dharvad to Kundgol and learnt from him. Though Bhimsen earned great status to Kirana Gharana by his extremely hard efforts , strong voice and terrific strength of his lungs (he was a wrestler earlier in his childhood) other two artistes were also of immense capacities. 
The referred composition गोपाला was sustained in the memory of the listening public primarily by another Parsee (like Peston Kaka , the topic of this blog) Pt Firoze Dastur. I will share another video of Pt Dastur on You Tube .. a DD Bangla program .. where he is seen presenting गोपाला and you can see Bhimsen and Pt Kanan on the first row among the audience. The point was that Pu La has deliberately portrayed this character of Peston Kaka who is beyond all popular criteria of music and culture loving middle class in Maharashtra. He is a Parser, a foreman, eats mutton openly , says ‘sala, sala ’ which is otherwise an abusive term but talks about Vivekanand , Siddharur Swamy, Shivanand as great divine souls. He considers Vishnupant Pagnis as the very Tukaram who lived among us. He insists Pu La to sing ‘Aadhi beej ekale , beej ankurale roap wadhle आधी बीज एकले , बीज अंकूरले , रोप वाढले .. the seed comes first , then the sapling grows from it .. the Abhang of Tukaram made famous by Vishnupant in the movie. Peston Kaka becomes the very Tukaram in that railway  compartment itself imagining Vishnupant who has entered in his mind and body at that moment. Such oneness with the divine through art and music is more valuable according to Pu La than all middle class hypocrite babble of how they love music and literature. This also applies to the whole class of people who talk of Pu La as their favourite writer. They have indeed not still understood the real message in Pu La ’s writings and his personality. Pu La’s great admiration for Peston Kaka is the indication of his strong belief in equality in society through art , music and literature. Therefore , I’m surprised by my friend Marathi playwright’s sarcastic question to me about the significance of Pu La as the choice of the writer in my blog. What happens after these Abhangas rendered by Pu La exclusively for Peston Kaka in that train journey is also important.  Pu La tells us that organisers of his speech , people who have come to greet him on the station greet him with ‘crest fallen stale flowered bouquet … what Pu La actually indicates here is the deep down hypocrisy and double standards of the middle class. They do everything just for its display value. Peston Kaka , however, openly orders non veg food in the compartment while Pu La eats home made tiffin …. there is fantastic ability of self ridicule in this writer. 
(I had stopped this discussion at 5.46 pm on 14-5-2017 and completed it in this Re-blog at 1.14 am 15-5-2017, posted edited blog under Pt Firoz Dastur Gopala, reposted now for reference to Siddharud Swamy blessing Keshavrao Bhosale and Pt Mallikarjun Mansur at 2.38 pm 15-5-2017 and edited this post earlier here on FB and this is the final version)

Acharya Atre my response to Dr Ratnaparkhi on his blog on 5-9-16

It was Teachers Day and my late father Yashawant Hari Shinde’s Annual Death Anniversary Observation Religious Rites Day .. Shraddh .. I stayed in college and wrote this response to his blog .. published later on Facebook : 
Visiting Blog of Dr Sanjay Ratnaparkhi 

5-9-16 Teachers’ Day ..Ganesh Chaturthi…when the whole world labours to install Ganpati idol, my kins perspire in following the letters of late Baba..I retain his spirit ..spent whole day in writing … writer asked to visit his blog and I could vent my all life ‘s love for great Marathi humorous writer,  playwright P K Atre who introduced revolving stage in India , fought Municipal elections and won, fought for United Maharashtra State and got it, lived a bohemian life in till today middle class mentality town Pune, moved with celebrity teacher actress Vanmala Sawant in Tonga on Pune roads, esp in Sadashiv Peth, never bothered what society said… 
Dr Sanjay Ratnaparkhi, 

Director, Distance Education, 

Mumbai University, 

Mumbai 

Blog link :rsanjay-sanjay.blogspot.com 
His views : 
आचार्य प्र. के अत्रे हे मराठी साहित्यातील एक मोठा  अध्याय होता. ते शिक्षक होते, पत्रकार होते , ते नाटककार होते , ते  वक्ते होते आणि  त्याही पेक्षा ते एक मोठे माणूस होते. त्यांनी जीवनातील असे कोणतेही क्षेत्र ठेवले नाही की, ज्यावर त्यांची मुद्रा उमटली नाही, असे अत्रे यांचे स्मरण हे  आनंददायक  आहे. मी त्यांना पहिले नाही की ऐकले नाही. मी जन्माला आलो आणि अत्रे यांचे १९६९ मध्ये निधन झाले. मी त्यांचे विनोद हे माझ्या मित्रांकडून ऐकले होते. प्राथमिक शाळेत असताना ‘ तो मी नव्हेच’ आणि ‘ मोरूची मावशी’ ही नाटके पहिली होती. याच वेळी हे लक्षात आले होते की, ते विनोदी लेखक होते. माझे वडील हे अत्रे यांचे वाचक होते. अनेकवेळा त्यांच्या तोंडी ही अत्रे यांचे नाव असे. ‘नवयुग’ आणि ‘मराठा’ हे त्यांनी वाचले होते. ‘मराठा’ या वृत्तपत्राचा जन्म हा संयुक्त महाराष्ट्र चळवळीत झाला. त्यावेळी यास आर्थिक मदत हवी होती म्हणून लोकांनी रु १/- मनिआँडर  पाठवावी असे आवाहन अत्रे यांनी एका सभेत केले होते. त्यास मोठा प्रतिसाद मिळाला आणि लाखो रुपये उभे राहिले. यात योगदान देणाऱ्यात माझे वडील होते आणि याचा त्यांना अभिमान होता

 मी १९७५ पासून वर्तमानपत्रे वाचत होतो आणि राजकीय आणि सामाजिक जाणीव जागृत करत होतो. याच दरम्यान आणीबाणी आली.१९७७ मध्ये निवडणुका होऊन केंद्रात कॉंग्रसची सत्ता जाऊन जनता राजवट सुरु झाली. याकाळात वृत्तपत्र वाचन अधिक दृढ झाले. हे वाचन मला पुढे  कथा, कादंबरी वाचनाकडे घेऊन गेले. वाचनाची गोडी कळाली आणि त्याचे महत्व समजत गेले. मी १९७७ जून मध्ये कोडोली हायस्कूल मध्ये विद्यार्थी म्हणून गेलो. ही शाळा सकाळी ११ ते सायंकाळी ५ पर्यंत चाले. त्यामुळे सकाळी आणि सायंकाळी वाचनास वेळ मिळे. दिवाळी आणि मे  महिन्यात  वाचनास अधिक वेळ मिळे. मी सातवीत परीक्षा दिली आणि सुट्टी पडली म्हणून कोडोली येथील दत्त वाचनालयात नाव नोंदवले. मी ‘श्रीमानयोगी’, ‘मृत्युंजय’ या मोठ्या कादंबऱ्या वाचल्या. मी  हे जे काही वाचत होतो ते  वडिलांना सांगत असे.   मी अत्रे यांचे  ‘कऱ्हेचे पाणी’ हे आत्मचरित्र वाचवे, असे वडिलांनी सुचविले. मी दुसऱ्या दिवशी वाचनालयात जाऊन ते मिळविले. ‘कऱ्हेचे पाणी’ खंड १ यातील  दोन प्रकरणे वाचली आणि आठ दिवसात तो खंड वाचून संपविला. मी हा खंड वाचताना एवढा भारवून गेलो की, काही विचारण्याची सोय नव्हती.

संपूर्ण सुट्टीत ‘कऱ्हेचे पाणी’चे चार खंड वाचून पूर्ण केले. यातून मला आधुनिक महाराष्ट्र कळण्यास मदत झाली. राम गणेश गडकरी, काकासाहेब लिमये, केशवराव जेधे, काकासाहेब गाडगीळ, दत्तोपंत पोतदार या व्यक्तींचा आणि ब्राम्हणेत्तर चळवळ यांचा परिचय झाला. यातून माझा  वैचारिक आणि गंभीर वाचनाचा माझा प्रवास सुरु झाला. याचे श्रेय मी अर्थातच आचार्य अत्रे यांना देतो.
                                                                                  डॉ.संजय रत्नपारखी,

Email:rsanjay96@hotmail.com
_______________________________________

My Response : 
डाॅ रत्नपारखी, 
आचार्य अत्रेंवरील आपला ब्लाॅग वाचला ,खूप आवडला. क-हेचे पाणी वाचल्यामुळे माझा दहावीचा फर्स्ट क्लास गेला याचे मला अजिबात दुःख नाही. कराडला गुळाच्या मोठ्या अडतीचा मालक असलेला माझा काळे नावाचा मित्र मला आठवतो, त्याच्या वडीलांच्या संग्रहात नवयुगचा दिवाळी अंक होता, मी तो पाहिला, वाचला होता. वनमाला सावंतांचे वडील संस्थानिक, बाईंनी श्यामची आई मधे काम करू नये असे त्यांचे मत, खूप विरोध केला त्यांनी. पण सिनेमा पाहाताना ते खूप रडले व त्यांनी नंतर मुलीचे खूप कौतुक केले. 
अशा रीतीने सुशिक्षित, गरीब मध्यमवर्गीय घरातून आलेली पण त्यामुळेच जुन्या वळणाची स्त्री न आवडता सरंजामशाही चौकटीत राहिलेली पण आधुनिक जीवनशैलीप्रमाणे जगण्याचे धाडस दाखवू शकलेली स्त्री अत्रेंना आवडली आणि उघडपणे विवाहाबाहेरील वैचारिक प्रेम पुण्यासारख्या अशा बाबतीत बुरसटलेल्या विचारांच्या शहरात करून अत्रेंनी आजतागायत विशिष्ठ विचार करणा-या वर्गाचा रोष ओढवून धेतला आणि बहुधा त्यामुळेच झी वाहिनी आणि तत्सम परीघाने फक्त पु ल हे एकच विनोदी लेखक होवून गेले असे आजच्या तरूण वर्गाच्या मनावर बिंबवलेले दिसते. वास्तविक पाहाता श्री कृ कोल्हटकर, अत्रेंचे गुरू गडकरी, चिं वि जोशी यांसारखे श्रेष्ठ दर्जाचेे विनोदी लेखन या वर्गाने हेतूतः दुर्लक्षित राहील असे पाहिले व आजही तीच स्थिती आहे. म्हणजे एखादा लेखक माणूस म्हणून आवडला की झाले, त्याचे साहित्यिक गुण कमी महत्वाचे …. मराठी जगच असे आहे की काय ? 

माझ्याकडे अत्रेंची ध्वनीफीत आहे, मी ऐकवेन तुम्हाला. किती मराठीच नव्हे तर भारतीय लेखक आहेत , अगदी टागोरांसहित की वसंतसेनेसारखा सिनेमा काढल्यामुळे झालेले कर्ज, भावाची झालेली फसवणूक व त्यासाठी बायकोचे दागिने विकून केस लढून जिंकणे, के असीफ सारखा पाकीजाचा सहनिर्माता मराठी लेखक असलेल्या निर्मात्याच्या कंपनीत पडदे गोळा करायला असणे … उद्धव शेळकेंच्या ‘साहेब’ मध्ये सगळे वर्णन आहे पहा. खूप खूप धन्यवाद अत्रेंचे स्मरण केल्याबद्दल. असा माणूस मराठी सारस्वतात पुन्हा होणे नाही असे त्यांच्याच स्टाइलने म्हणावेसे वाटते. राजाराममधे स्नेहसंम्मेलनास जाण्याअगोदर धर्मांध युवकांनी काळे फासले. तसेच रुमालाने पुसून, त्याच युवकांना उद्देशून म्हणाले (मुले स्टेज समोर व मुली वर गॅलरीमधे ) ” हे स्वर्गस्थ देवतांनो व ह्या मर्त्य मानवांनो ” आणि ते युवक हसता हसता खजील झाले. फर्गसन्चे प्रा रॅं पराजपे ग्रेट , त्यांनी सायन्स प्रवेशास पात्र गुण अत्रेंनी मिळवलेले असूनदेखील त्यांना समजावून सांगितले व कला शाखेतच राहायला सांगितले ..

Readers’ Comments on my blog on Pt Abhisheki Buva ‘s Ghrana Breaking 

Nilotpal Ray , Siliguri , Darjeeling , screenshot from Facebook .. excerpt from my blog : 

I had earlier brought it to the notice of like minded reading public and artiste Ifriends that Loksatta (of Express Group) did not mention the great and immeasurable contribution of Pt Jitendra Abhisheki in Indian Classical Music (breaking of Gharana style ), Marathi Sangeet Natak (with Katyar Kaljat Ghusli ..m the epoch making play of Purushottam Darvhekar Panditji proved the importance of breaking gharanas and bringing music to the common man , Katyar that shows mature understanding of Pandit and Khansaheb .. their families … it has a strong secular msg too, the play of 50s was made into a film and it rocked last year ) , Marathi Bhavgeet (aaj achanak gath pade etc )  and Marathi Film Music (Gomu maherla jate ho nakhwa , tichya bhovala kokan dakhva ) … there is literally no other classical music vocal artiste pan India who has contributed to Indian and regional culture and art in such a prolific manner … still Loksatta didn’t take notice of him in editorial which was an epitaph on Kishoritai. 

Greatly obliged by scholars & affectionate seniors commenting on. Whatsapp 24-5-17

Friends , copy pasting from whatsapp my scholar friends , artistes , affectionate seniors’ comments…

1. Dr Daxa Thakor 
[24/05 1:02 pm] Whatsapp Dr Daxa Thakor: Worthy use of your erudite personality , hidden talent with a step ahead with the modern information technology useful to give wide exposure to worthy sharing..

Keep it up..

To publicise your scholarly review n touchable creativity 👍

[24/05 1:03 pm] Whatsapp Dr Daxa Thakor: Ma Sarasvati ki krupa sada bani rahe..

[24/05 1:07 pm] Rajendraprasad Yashawant: 🙏🏼🙏🏼☺please write on blog … meanwhile I copy paste this there
[24/05 1:13 pm] Rajendraprasad Yashawant: Daxa please send details : Designation , college , email ID

[24/05 1:15 pm] Whatsapp Dr Daxa Thakor: Dr Daxa Thakor 

Associate professor 

Shah N H Commerce College, Tithal Road, Valsad, Gujarat 

dg.thakor3570@gmail.com

Priye Paha translated into English 23-5-17

This is ‘Priye Paha’ originally sung famously by Chhota Gandharva and sung later by many new gen singers like Pt Prabhakar Karekar (disciple of Abhisheki buwa) …Shaleen…are u there ?

This is not Pt Prabhakar Karekar but Pt Chhota Gandharva

Priye paha, 

Ratricha samay saruni 

Yet ushakkal ha

Thandgar vaat sutat

Deeptej mand hot

Digvadane swachha karat

Arun pasari nij maha

Pakshi madhur shabd kariti

Gunjarav madhup varati

Viral parn shakhi hoti

Sukhdukhha visaruniya
Gele je vishwa laya 

Sthiti nij tee sevaya

Uthte ki techi aha ! 

Priye paha priye paha priye paha priye paha aaa priye paha
Krishna arrives (as usual) late home of Satyabhama…she is quite upset …his regular stays outside…esp at Rukmini…he comes late night…sings first a different ‘pad’..Natyageet ..’Nach Sundari karu kopa, majwari dhari anukampa’ (please don’t get angry with me dear, have compassion) but still Satyabhama is angry…whole night is spent in convincing her, persuading her, winning her lost love…now it’s dawn…early morning…and he sings this..Priye paha…following Eng translation ….

 Behold my dear beloved 

Look there arrives Arora on horizon 

Night has gone

She comes hither 
Cold wind of early morning 

Night lamps lose shine slowly

Clearing faces of directions

Sun spreads lustrous 

Birds chirp sweetly
Bees hover on sweet nector 

Leaves scarce on branches

(I had forgotten a line there 

‘Vikasan ye jalruha’) 

Water haunts get enriched 

World that hath forgotten
Sorrows and worries in sleep

Getting back to it’s state 

Behold beloved,  behold

Musical Relations 23-5-17

8.11.14 

It’s indeed memorable evening in my life when I got Pandit Rohan Krishnamurthy ji as my friend on Facebook. Since my childhood percussion instruments in general and Tabla (Mridangam, Pakhwaaj included) in particular has greatly fascinated me. I can’t forget listening to Solo of Pt Samta Prasad and later Beauuuuutiful accompaniment on Tabla by Pt Sheshgiri Hangal to Vidushi Gangubai ji, Pt Omkar Gulvady Pt Omkar Gulvady ji to Vidushi Padma Talwalkar (I’m greatly fortunate to have Panditji as my friend here) …this journey from childhood when I used to wait for months to listen to solo on old Philips Valve Radio Maestro Bandmaster( which my brother Gopal Shinde knows that it is the greatest gift to us from our teacher father who oriented us to music through this radio in small uncultured village Rethare Budruk) and later on Philips 415 sound system with wooden speakers (all Rhythm House Classics ..cassettes on which I enjoyed Pt Gulwady) …I mention all this because I find supreme example of this journey in Pt Rohan ji who combines excellence in playing Mridangam with it’s academic knowledge and latest technology…great, congrats! Wish him great future..

Hi Caro, I’m not even good in appreciation of our own Indian music. I studied English as third language in school through which I was exposed to western or global culture and music. Later I mastered in Litetature and am a Professor. I write this because I don’t understand your kind of music but greatly enjoy listening to it. So, keep sharing your contributions with me, I will be obliged. Thanks a lot dear…keep in touch…(this msg to many artistes, women) 

Hi Emma, the other day I was fortunate to become friend of Martina Evans. I wrote to her that I remembered George Eliot (Mary Evans) by her name. Here your name itself reminds of great work of fiction Emma….I’m not even good in appreciation of our own Indian music. I studied English as third language in school through which I was exposed to western or global culture and music. Later I mastered in Litetature and am a Professor. I write this because I don’t have enough knowledge of the way you study poetry or perform and respond to music but I am a keen student of all forms of Litetature and consider poetry as highest among them, I  greatly enjoy listening to all types of music but understand Indian Classical to some extent. I read your blurb on your profile which show your deep loyalty to poetry. Have you read Homer, Aeschylus, Spencer etc ? 

Yes, but Emma, have you read Omar Khayyam (Fitzgerald’s translation) or not, I have been so much committed to the thought expressed earlier by you that in order to pay tribute to Khayyam (11th 12th c Persia then)… who gets credit of introducing stanza form in western poetry…Rubai …quatrain …a four line poem…which is again basis of Ghazal form…which was used by Dryden…couplets…and these Persian poetic artistic tradition was the reason for introduction of Khayal, Bandish (musical compositions in Hindustani Classical Music) …so Khayyam, Rumi…all these are the foundation of what is considered to be great Indian music and art today…

Dard-e-dil dard ashana Jane, aur bedard koyi kya jane…Ghulam Ali…only ‘ashana’ ..means one is able to love …knows the ‘dard’ of the ‘dil’ …nobody else can understand that…have you heard that? I dream u singing that near Konark temple when the sun sets, handful of quality listeners cherish that evening throughout their lives

17.12.14 

Rebecca Barch art critic, writer, book on Rome…..I will surely read your Rome (like the great poet wrote about Chapman’s Homer…much have I travelled in the realms of gold, nothing like Chapman’s Homer)

28.12.14 night 12.08 am 
I have a group of artistes, teachers, scholars and friends on Whatsapp…Dr Alkarani, Dr Rajhans, and many more are there. A well known Ghazal of Ghalib was proposed for translation…I translated it …sharing here…those of you who would like to join the group are welcome to send request to my Whatsapp number +91-9370691812….this is that (sharing with my sensitive friends by tagging their names here before I put the Ghazal and the translation):- 

Mirza Ghalib (19th C eminent Urdu Shayar, who lived in Delhi when last Moghal Emperor Bahadurshah Zafar ruled, a Romantic poet who wrote very famous Ghazals, poem made of predermined number of internally rhymed couplets…origin of couplet is Rubaiyaat of Omar Khayyam …great 11 th C Persian poet …his Rubaiyaats…or quatrains…four line poems contributed stanza as a poetic form to western poetry 

Gwalior Gharana 23-5-17

8.12.14 

I greatly admire these icons of Gwalior (Gwalher in Marathi). I know how Pt Ramkrishnabuva Vaze travelled in extreme conditions from Sawantwadi (Shrikant Sawant) to Gwalher in those days and had to return due to neglect from Ustad there and in his unparalleled toil devoted his life to give to the posterity the Gwalher Gharana what is considered as best in Hindustani Classical today. We must mention Vidushi Kesarbai Kerkar who was trained by Buva for some time and then it’s history how she was not offered the traditional Ganda Bandhan by another Ustad for a long time (while the same Ustad obliged Vid Mogubai Kurdikar (Vid Kishoritai’s legendary mother). He did so later one day in Mumbai and Kesarbai is till date considered a milestone in all female singers in Hindustani Classical. We know that the digital tablets with history of human civilization which are hidden in Pacific and in space and which chronicle man’s achievements in all fields…those tablet makers in America have included only one singer and that is Kesarbai ji….thanks Nilotpal Ray ji for giving me opportunity to say these things, a bit in music that I know