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

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Obituary to Dr Khatri

The Obituary (for dear Dr Khatri)Brother in Jungle

_____________________________

My Baba told about him,Gopal, the brother in jungle,The poor student had nothing,Other princes had cows and jewelsHe kept sobbing at mother’s lapWhat shall I give to my Guru?He walked dense forest,Every day alone among wild animals,Mother told him to call his brother”The Brother in Jungle will save you”Anyway, he had to go to the Guru,He decided, asked his brother,My dear brother, Gopal, please help,Thus he went with a bowl of leaves,Filled with a mouthful of milk,The milk never stopped pouring.Bewildered Guru and students,Went in search of the brother,Who told only the boy could see him.Our eyes filled with tears,I told Baba to name new born brother as Gopal, Like the ‘Brother in Jungle’ Thus my younger brother became My elder brother Gopal, Looked after all my duties with devotion. 
Many years passed in strife and struggle, In the real jungle of greed, I pined to meet the ‘Brother’ in this ‘jungle’, Who would come to succour and to save,Me from clutches of tyranny, What we call life and career, 
Just because Baba named me after Babuji,Babu Rajendra Prasad Ji, You patted me and told, look here I am, come for your succour, Your ‘Brother’ in this ‘Jungle’ A few others and me, we saw you, A different scholar, a different poet and, Above all a unique human being, You paved the academic world, With ‘Cyber Literature’, Eminent scholars from the world, Worked with you, Sudhir being closer than all of us, I for ‘Online’ and he for the ‘original’, 
Your ‘Two Minute Silence’ and many other anthologies will, Keep on reverberating the literary world, Though you were younger, You were the true elder brother in jungle. 
What they say is true, God calls his most beloved, Earlier to him than all others, I pray I strive to become beloved, To Him, end this loneliness forever. 
May you keep visiting the academic world, With translations of your anthologies, Your words have truly conquered, Death and other ‘Ways of the World’. Leading you to true Eternity. 
Dr. R. Y. Shinde, Editor, Cyber Literature International Online Journal. Pune, 21/3/21 

लता आणि आशा : शिरीष कणेकर

https://m.facebook.com/story.php?story_fbid=2247238128823864&id=1733553620192320&sfnsn=wiwspmo

माझे परम मित्र, मराठीतले एक श्रेष्ठ सांस्कृतिक भाष्यकार, आपल्या विनोदी साहित्य परंपरेत आपल्या सामाजिक शास्त्रे, विधी, क्रिकेट, चित्रपट, चित्रपट संगीत, प्रसार माध्यमांचे (पत्रकारांचे) जग इ गोष्टींच्या सखोल अभ्यासाने एक वेगळीच विनोदी शैली प्रस्थापित करणारे एक विनोदी लेखक, मराठीत स्टॅंडप शो प्रथम आणणारे लेखक कलाकार, लताजी, आशाजी, राजेश खन्ना, अमिताभ, माधुरी, ओ. पी., सी रामचंद्र इ संगीतकार गायक कलाकार आणि राजकारणातील अनेक पक्षातील अनेक धुरंधर, क्रिकेटपटू, उद्योगपती यांच्या खाजगी मैफलीतले विश्वासू सखा.. असे शब्दात न मावणारे अजोड मराठी सारस्वत आदरणीय श्री शिरीष जी कणेकर यांचा लता आणि आशा यांची अतुलनीय तूलना करणारा एक अप्रतिम लेख मी शेअर करतोय. ‘मी तर हमाल भारवाहू’ हीच प्रामाणिक भावना.

Real Spirit of Kerala

The real spirit of India 👆

Someone posted video of a Hindu wedding in a mosque with a title Spirit of India but I differ, I call it truly secular spirit of Kerala, not India. I replied to the post writer saying like this, quiting two Malayalam films ‘Kissa Biryani Ka’ and ‘Subhratri’ (posting links to those movies here)

सर्व सामान्य पणे सहज forward केलेल्या पोस्ट वर कोणी चर्चा करायची नसते हा whatsapp व्यवहार आहे हे माहीत असून देखील या पोस्ट वर मत व्यक्त करण्याचे धाडस करतोय कारण केरळ वर माझे माझ्या राज्यापेक्षा जास्त प्रेम आहे, होय, हे खरे आहे. Real spirit of India असे न म्हणता Real secular spirit of Kerala असे म्हणणे योग्य ठरेल. तुम्हाला राग yeyil याची भीती असून देखील मी मैत्री वर विश्वास ठेवून असे म्हणतोय.

I have been avid viewer of Malayalam films. Iove them for portrayal of the society there which is far more advanced than all other states in India or you may say world because they are truly secular. I have many films in mind while watching this video but more specifically I would like to refer to a film called ‘Kissa Biryani Ka’ based on angels both from Christian heaven and Muslim Jannat blessing a poor orphan woman with a marvellous taste in her hands, her Biryani. Movie based on a real village there in which every Sunday all poor Hindus and Muslims get excellent Biryani served.

In other movie a Muslim spends all life’s earning on treating a thief’s daughter for whose treatment he resorts to theft in his house itself and is caught, injured. I thank you for this video which inspired me to express my views. Just a title of original post writer is an issue. That’s Kerala sprit, not Indian as such, I dare say this. I will put here links to both films. Good morning 🙏

Check out this awesome video https://www.mxplayer.in/movie/watch-shubharathri-movie-online-8de252256f59a295788ff5663d931682

https://g.co/kgs/ZCsc84

The Good Wife : a curtain raiser

https://g.co/kgs/pCA4pC

http://www.newyorker.com/culture/cultural-comment/what-was-the-good-wife-really-about

One of the excellent Web series I have ever seen for correct portrayal of man woman relationship, American Society and Politics, legal system, human ambition, greed, passion, sensuality, cheating as natural human trait, replete with literary musical references in American elite life like declining an offer on the ground that the woman loves Dan Brown (da vinci code) more than Hemingway, someone else murdered but who roamed with small blue tooth speaker, while handling most complicated business deals but listening to Bach…

There are more than one reason to like this serial, music, direction, acting, characterisations, exact locale portrayal, no compromise at all for most realistic locations, sets etc… I loved it.

There are 7 seasons available with 20, 21  1 hour episodes… This will kill loneliness and Corona or any other modern social ailment. Like our Professor Dr P M Deshpande uses to say, Mesmerising, splendid, beautiful, marvellous (there is no ‘but’ here which he suffixed after all these adjectives, asking us to rewrite our assignments in Pune University Eng Dept in 1983) watch and let me know what you think

(review on Google, 6 pm, 4.3.21 Prof Dr R Y Shinde)

Quotations from a Review in The New Yorker
माझ्या वकील विद्यार्थ्यांसाठी काही भाग मराठी मधे अनुवादित करून लिहित आहे

“More and more, Alicia found herself aloof from life; although she had seized power as a lawyer and a woman, she had also realized that she couldn’t use that power to solve her inner problems—problems, in many cases, that had been created by the seizure of power in the first place.”

एक प्रभावी स्त्री, पत्नी, मैत्रीण म्हणून आणि वकीलीच्या माध्यमातून खूप मोठी सत्तास्थाने प्राप्त करून देखील अलीशिया ही एकाकी आहे कारण तिला हे ध्यानात आले आहे की कितीही मोठे पद किंवा सत्ता प्राप्त केली तरी तिच्या विवेकी मनात निर्माण होणाऱ्या प्रश्नांचे उत्तर तिला मिळू शकत नाही कारण ते प्रश्नच मुळी ज्या रीतीने ती सत्ता हस्तगत केली त्या रीतींमुळे निर्माण झाले आहेत. ” (बऱ्याच अंशी अमेरिका या देशाची सध्याची अवस्था अशीच झाल्याचे दिसते.)

” But it would be inaccurate to call her a truth-teller; she’s more like a lawyer of the inner life. In her thoughts and feelings, Alicia has internalized the rules of the judicial system, which relies not just on arguments but also on the management of information. “

” ज्यांना आपला आतला आवाज ऐकू येतो अशा आत दडलेल्या मानवी जीवनाची ती वकीली करतेय. तिच्या मनात चालणाऱ्या विचारांवर न्याय प्रक्रियेचा फार मोठा पगडा आहे. न्याय व्यवस्था केवळ योग्य युक्तीवादावर चालत नसून ज्ञानाच्या, माहितीच्या सुयोग्य नियोजनावर चालते”

“…. “The Good Wife” resembles no literary work more than Kafka’s “The Trial.” In both stories, the theory is that there’s an ultimate court of law, a higher, final, moral court, in which we’d all be found guilty if all the evidence were put before the judge. “

‘द गुड वाईफ’ ह्या सीरीज ची तूलना ज्या एका सर्वश्रेष्ठ साहित्यकृती बरोबर होवू शकते ती म्हणजे फ्रान्झ काफ्काची ‘द ट्रायल’. दोन्ही ठिकाणी असे सूचित केले आहे की विद्यमान न्याय व्यवस्थेच्या वर एक दुसरी नीतिमत्तेचे प्रश्न हाताळणारी व्यवस्था अदृश्य पणे कार्यरत असते जिथला न्यायाधीश हा आपला खरा निवाडा करतो. (काफ्का आणि लोकमान्यांमधील साधर्म्य इथे सहज मनात आले)

The story of the song “Sunya Sunya Maifilit Mazya” जयश्री गडकर, स्मिता पाटील Lata Mangeshkar, movie : Umbartha

पगारासाठी साहित्याचा रतीब वर्गात घालणारे आणि पुरस्कार, लाइक्स साठी झुरणारे, फॉर्वर्ड पाठवून कवितेची सेवा धन्य झाली असे मानून पगार पेन्शन शासन मान सन्मानाची वाट बघणारे माझ्यासारखे लोक जयश्री गडकरांनी सुरेश भटांची जी सेवा केली आणि त्या अफाट खर्चाची थोडीही वसूली न करता ते गाणे देवून टाकले हे वाचून (आत्ताच पोस्ट वाचली मी) निश्चित शरमेने मान खाली घालतील, माझी तर मान खालीच आहे हे लिहिताना, वाचा :

My non Marathi friends, after reading compliments of my friend Balachandran on this post I realised the need to give a brief intro in English. Jayashri Gadkar (adding her photo into inset) was the famous actress in Marathi movies. It seems she was Rama’s mother, Kaushalya, in DD Ramayana. She was producing a movie and wanted the best poet to write the theme song. She invited famous Marathi poet Suresh Bhat ( Vinayak Bhat Varsha Bhatt Shrinidhi Bhatt) known for his Ghazals. He was mainly responsible to make this form famous in Marathi. Jayashri invited him to write the song for her movie. He said he will but she will have to arrange posh hotel stay with luxurious hospitality and cousine. He took such a long time that her budget exhausted and she told it to him. She went to hotel when they told him he left for Nagpur. She rushed to Dadar railway station where, while the train was leaving he handed over a paper of this song (सुन्या सुन्या मैफिलीत माझ्या in my lonely concerts I’m singing your song). Somehow the movie did not see the light of the day. Many years later Dr Jabbar Patel was making a movie with Smita Patil in lead role. He came to know of this song. Hridaynath Msngeshkar was the composer. When they approached Suresh Bhat he told since Jayashri Gadkar had spent for his stay (he had not taken honorarium, saying hospitality was enough for him) so the song belonged to her. She happily gave the song without recovering a single rupee from the movie makers. She had spent life’s wealth for that movie. The song became a great hit sung by Lata Ji and Smita Patil’s classic presentation. I will translate the complete song later.

🌈✍️🎊🎼🎹🎼🎊🎹🎼✍️🌈

“सुन्या सुन्या मैफिलीत माझ्या”…

🌙. * : ✩ ☁️
🏡__🌳
………………🧎🏻‍♀️

“सुप्रसिद्ध चित्रपट अभिनेत्री सौ. जयश्रीताई गडकर” एका चित्रपटाची निर्मिती करत होत्या…!

त्या चित्रपटासाठी त्यांना एक खास.., वजनदार असे गाणे हवे होते..!

त्यांनी त्या साठी कै. श्री. सुरेश भटांना विचारले…!

श्री. सुरेश भट म्हणजे एकदम तब्बेतीचे ✍️🎼 कवी..,एक मस्त.., कलंदर व्यक्तीमत्व.., सिनेमाच्या 🎼गाण्यांचा रतीब घालणारे…!

ऑर्डर प्रमाणे बुंदी पाडून देणारे कोणी ‘नाना’ नव्हते ते…!

सौ. जयश्रीताईंची विनंती मानून श्री.सुरेश भट असे एखादे गीत ✍️लिहिण्यास तयार झाले..!

“माझी मुंबईत राहण्या खाण्याची सोय करा.., म्हणजे मी मुंबईत येऊन तुम्हाला गाणे ✍️लिहून देईन..!”

सौ. जयश्रीताई त्याला तयार झाल्या…., कविवर्य मुंबईत दाखल झाले..!

सौ. जयश्रीताई.., चित्रपटाचे कथा आणि पटकथाकार, संगीतकार आणि सुरेशभाऊ यांच्यात काही बैठका झाल्या..!

आता जयश्रीताई गाणे कधी हातात पडते याची वाट पाहू लागल्या..!

पण सुरेशभाऊंकडून काही गाणे लिहून होईना..!

काही दिवस थांबून जयश्री ताईंनी सुरेश भाऊंना आठवण करुन दिली..!

“हो जाये गा.., मिल जायेगा..!”

सुरेशभाऊंचे उत्तर आले…!

बाईंनी विचार केला मोठे कवी आहेत…, थांबू काही दिवस…, पण असेच आणखी काही दिवस गेले…, गाणे काही भेटेना…!

ईकडे त्या गाण्यासाठी चित्रीकरण खोळंबले..!

स्टुडिओच्या तारखांबद्दल प्रश्न निर्माण व्हायला लागले..!

सौ. जयश्रीताईंचा धीर सुटला.., आता सुरेश भाऊंना तगादे चालू झाले…!

पण…,

“हो जाये गा…, मिल जायेगा..!”

हेच उत्तर मिळत राहिले…!

इकडे गाणे न मिळाल्याने कामे खोळंबली होती… तर तिकडे सुरेश भाऊंचा लॉज व जेवणा खाण्याच्या खर्चाचे बिल दिवसागणीक वाढत होते..!

अखेर बाईंनी सुरेश भाऊंना स्पष्ट सांगितले…!

“सुरेश भाऊ आता आपल्याला जास्त वाट पाहता येणार नाही.., नाही गाणे सुचत तर राहू दे…!

पुन्हा कधी तरी बोलवू आम्ही आपल्याला….!

आम्ही पुढच्या दोन दिवसाचे लॉजचे सगळे बिल भरले आहे..!

पण याहून जास्त आपल्याला तिथे राहाता येणार नाही..!

तेव्हा…,”

“ठीक आहे, जशी तुमची मर्जी..!”

सुरेशभाऊ शांतपणे म्हणाले..!

दुसरे दिवशी त्या लॉजच्या मालकांचा सौ. जयश्री ताईंना फोन आला..!

“आपले ते नागपूर चे गेस्ट.., अगदी आत्ताच खोली खाली करुन गेले…!

गडबडीत दिसले.., दादर ला नागपूरची ट्रेन पकडायची आहे असे काही तरी म्हणत होते…!”

बाईंना आश्चर्य वाटले.., कविवर्य रागावले का काय…?

असे न सांगताच…,

न कळवताच कसे मुंबई सोडून निघाले…?
छे.. छे..,आपल्या बोलण्याने दुखावला वाटतो हा मानी गृहस्थ..!

असे व्हायला नको होते.., त्यांनी तडक दादर स्टेशन गाठले..! नागपूरची गाडी उभी होती.., सुरेशभाऊ निवांत खिडकीची जागा पटकावून बसले होते..!

बाईंनी त्यांना विचारले…, त्यांची माफी मागितली.., सुरेशभाऊ नुसतेच हसले…, गाडी सुटणार तेव्हढ्यात सुरेश भाऊंनी एक कागद जयश्री ताईंच्या हातात ठेवला..!

“हे घ्या आपले गाणे..! आपली व्यावहारिक अडचण मला समजते जयश्रीताई.., पण त्याचे काय आहे…, काव्य ही एक दैवी देणगी आहे..! प्रतिभेचा हुंकार आहे.., याला काळ.., काम.., वेगाची बंधने लागू पडत नसतात.., सुचले तर आत्ता लगेच नाही तर जेव्हा सुचेल तेव्हा असे हे काम असते…!

आज भल्या पहाटेच हे गाणे सुचले मला.., हातासरशी ✍️लिहून टाकले…!”

“याच्या मानधनाचा चेक आपल्याला पाठवून देते…, लगेचच…!”

“ताई…, त्याची काहीच गरज नाही…! आपण माझी मुंबईत जी बडदास्त ठेवलीत तीच मला पावली..! बाकी गाणे म्हणाल तर ते सरस्वतीचे वरदान आहे.., परमेश्वरी देन आहे.., त्याचे मोल मी काय करणार आणि तुम्ही काय देणार’..?’

“अहो पण..?”

“तुम्ही आता काही बोलू नका…, उलट मीच तुमची क्षमा मागितली पाहिजे.!”

एव्हढ्यात गाडी हलली…,

सौ. जयश्रीताईंना पुढचे काही बोलता आले नाही…!

घरी परत आल्यावर सौ. जयश्रीताईंनी ते गाणे वाचले मात्र त्यांच्या डोळ्यातून अक्षरश: अश्रूंच्या धारा लागल्या..!

काही कारणामुळे सौ. जयश्रीताईंना ते गाणे त्यांच्या त्या चित्रपटात वापरता आले नाही..!

ते तसेच त्यांच्यापाशी पडून राहिले… पुढे काही वर्षांनी जेव्हा श्री. जब्बार पटेल एक चित्रपट निर्माण करत होते.. तेव्हा त्या चित्रपटाचे संगीतकार पं. ह्रदयनाथ मंगेशकर यांना अगदी असेच गाणे हवे होते, कोठून तरी त्यांना त्या सुरेश भटांच्या गाण्याबद्दल कळले…,

त्यांनी सुरेशभाऊंना विचारले…?

“वो गाना…?

वो तो अब “जयश्रीताई जीं” की अमानत हैं…!

उन्हीसे बात किजीये..!”

सौ. जयश्रीताईंनी त्या गाण्यासाठी तसे म्हटले तर बराच खर्च केला होता पण…,

“हे गाणे तर परमेश्वरी कृपाप्रसाद आहे..!

मी याचे पैसे नाही वसूल करणार.., उलट पं. हृदयनाथजींसारख्या संगीतकारा कडे हे गाणे जाते आहे.., त्याचे खरोखरीचे चीज होईल.., 💎हिर्‍याला कोंदण लाभेल..!”

असे म्हणत ते गाणे पं. हृदयनाथजींकडे हवाली केले..!

अर्थातच पं. हृदयनाथजींनी त्या 💎हिर्‍याला साजेसे असे सुरेख कोंदण दिले.., आणि ते गाणे मराठी चित्रपट सृष्टीच्या इतिहासात अजरामर केले..,

ते हेच गाणे होते…!


सुन्या सुन्या मैफिलीत माझ्या..,
तुझेच मी गीत गात आहे..!
अजुन ही वाटते मला की.,
अजुन ही चांद रात आहे..!

कळे ना मी पाहते कुणाला..?
कळे ना हा चेहरा कुणाचा..?
पुन्हा पुन्हा भास होत आहे..,
तुझे हसू आरशात आहे..!

सख्या तुला भेटतील माझे..,
तुझ्या घरी सूर ओळखीचे..!
उभा तुझ्या अंगणी स्वरांचा..,
अबोल हा पारिजात आहे..!

उगीच स्वप्नांत सावल्यांची..,
कशास केलीस आर्जवे तू..?

दिलेस का प्रेम तू कुणाला..?
तुझ्याच जे अंतरात आहे..!


गीत -: सुरेश भट..
स्वर -: लता मंगेशकर..
संगीत -: पं. हृदयनाथ मंगेशकर..

✍️🌈🎊🎼🎹🎼🎊🌈✍️ Following is the You Tube Link to the song :

Children Must Play Not Learn Code

अत्यंत सुंदर, मी स्वतः या महिलेच्या म्हणण्यानुसार लहान मुलांना कोडिंग शिकवणे चुकीचे आहे असे मानतो, आपले काय म्हणणे आहे? माझ्या आवडत्या कविच्या ओळी तिने कोट केल्या म्हणून नाही तर कॉमन सेन्स ने असे वाटते की ज्या वयात पैसे मिळवण्याच्या स्किल्स पेक्षा महत्वाची, जीवनात आनंदी राहाण्याची स्किल्स शिकायची (वाळुचा किल्ला, पतंग, मार्बल्स इ) त्या वयात फक्त पैसे मिळवायला शिकवणे म्हणजे मुलांच्या जीवनात आपण जाणीवपुर्वक केलेली क्रूर कृती आहे.. अजिबात शिकवू नये कोडिंग फिडिंग मुलांना… Children must not be treated cruelly by teaching them earning money as the only value at the age when they must be allowed to enjoy free time in doing all sorts of simple pleasurable things like actual sports etc… I’m against teaching them coding.. What do you think… Watch the video.. I agree with the presenting person’s view 🙏

P.L. Deshpande Jagatik Marathi Parishad Speech (August, 1989 Mumbai) Marathi Luminaries and my personal view

लता बाईं बद्दल काही बोलायला नको, वि. वा. शिरवाडकर उर्फ कुसुमाग्रज श्रेष्ठ नाटककार आणि कवि, शरद पवार, राजाराम बापू लोकगीत गायक गोधळी. मला फार माहीत नाही त्यांच्याबद्दल.

तर्कतीर्थ लक्ष्मणशास्त्री जोशी आमच्या वाईच्या प्राज्ञ पाठ शाळा आणि मराठी विश्वकोषाचे अध्यक्ष, संस्कृत पंडित, वेद विद्येचे भाष्यकार सेक्युलर अस्पृष्यता वेदात नाही असे सांगणारे, भारताचे पहिले (and last) Governor General चक्रवर्ती राजगोपालाचारी यांची कन्या आणि गांधीजींचा मुलगा हे लग्न लावायला देशातला पुरोहीत तयार नव्हते (inter cast marriage म्हणून) तेव्हा राजेंद्रप्रसादांनी सुचवले त्याप्रमाणे ते लग्न तर्कतीर्थांनी लावले. Rajendraprasad also requested him to reinstate सोरटी सोमनाथ temple which was desecrated by Mohammad of Ghazini many centuries ago. He took Brahmins from Wai to Somnath and performed necessary rites. He was basically a leftist, influenced by great Marxist thinker मानवेंद्रनाथ रॉय. They were friends. Because of his friendship with Yashwantrao Chavan he entered Congress. This brought him close to Gandhi, Rajendra Babu and others. Petty personal ref is that during my Appt in college in Wai in 1988 and until his passing away he was the Trustee of my college management.

I frequently met him while climbing up to college when he used to come down on his morning walk. Once when he visited Germany he climbed that Castle of Chillon (शिअॉं) at 75 known by Byron’s famous poem (On the Castle of Chillon.. Freedom can’t be shackled, thoughts are always free) instead of using cable car. I don’t know whether there is some mountain like structure. However I think people climb it because in a play by famous American Playwright Tenessee Williams ‘Lord Byron’s Love Letter’ there is ref of Byron climbing that hill while a young woman climbed down. She took his autograph. In old age she offers to auction it..etc). Well, on his return he spoke of Byron and when people asked him the difference between Western and our culture he said kiss (चुंबन) with which our ancient Sanskrit plays are replete of, is still prevalent there but here we have forgotten and termed public kissing as uncouth. Further (this is what I have heard…all what I’m telling now is all heard. So I stand to be corrected and don’t vouch for it) he spoke for an hour on kissing in our ancient culture. Well… तर्कतीर्थ.

मो. ग. रांगणेकर मराठी नाटककार, he adapted great play by the Norwegian playwright Ibsen ‘Doll’s House’ as कुलवधू in Marathi. बोला अमृत बोला is a famous नाट्यगीत of ज्योत्स्ना भोळे from that play. Literature lovers say that feminism started with the bang of the door which Nora (protagonist in ‘Doll’s House’) slammed on her husband’s face and left his home..this bang reverberated in oncoming female voice in literature in 20th C. Ibsen wrote in 19th C.

Well, Shantanurao Kirloskar is the son of Laxmanrao Kirloskar who laid foundation of Marathi enterprise in Kirloskarwadi near Bhilalawdi in Sangli District.

Yamunabai Waikar is known for बैठकीतली लावणी. She is the icon in Lavni sung before audience (not presented by dance). So, it is a matter of pride for वाईकर people that in luminaries present there, two are from Wai. That is also because of Yashwantrao Chavan and his मानसपुत्र Sharad Pawar who loved these two.

I loved P L ‘s expression अनिर्वचनीय अनुभव inexpressible experience. I also agree with him that Marathi माणूस will always talk loudly and आभार is not not our inherent cultural trait as such.

डॉ. मृदुला दाढे :’बंदिनी’

https://www.loksatta.com/lokrang-news/bollywood-movie-bandini-music-director-s-d-burman-lyrics-shailendra-singer-mukesh-nutan-afsana-likh-rahi-hun-dd70-2329079/

‘बंदिनी’ चा उत्तरार्ध वाचत असताना मला तर मीच कल्याणी आहे असे वाटतेय.. आम्हा सर्व सम ह्रदयी वाचकांना हमखास तसेच वाटले असणार.

‘मैं बंदिनी पिया की, मैं संगिनी हूं साजन की’ असं म्हणणारा कवी भारतीय काव्यापाठीमागील तत्त्वज्ञानाचा गाभाच इथे मांडतोय असे वाटते.

‘बाबुल मोरा नैहर छूटो री जाय’ म्हणणारा सैगल काय किंवा ‘वो दुनिया मोरे बाबुल का घर ये दुनिया ससुराल’ काय, एकूणच आपल्या नश्वर जीवनाच्या पल्याड बघण्याची ही दृष्टी भारताने जगातील काव्य प्रेमींना दिलेली देणगी आहे.

मृत्यूनंतर लोक खरंच आपली आठवण काढतील की ‘जन पळभर म्हणतिल हाय हाय, मी जाता राहिल काय काय?’ हा प्रश्न कसेही करुन जिवंत राहाण्याचा दयनीय प्रयत्न करणाऱ्या कोरोना काळात खूपच महत्वाचा ठरतो.

देवेंद्रपेक्षा विकाष ला आयुष्याचे भागधेय समजणारी बंदिनी ही एकटीच खरी मुक्त तर आपण व्यवस्थेत व्यवस्थित असणारे सर्वजण खरे बंदिवान आहोत, जगाची बंदीशाळा आपणास कधीच कळली नाही हे कल्याणीशी तूलना केल्यावर आपल्याला उमगते.
‘हे सगळं अत्युच्च बिंदूला पोचतं’… हे लेखिकेचे शब्द आपल्याला अपार सद्गदित करतात. ऐलतीर आणि पैलतीरामागील प्रतिकात्मकता खूप सुंदरपणे दाखवली आहे. आपले भविष्य हा पैलतीर आणि वर्तमानासहित चालत असलेला भूतकाळ हा ऐलतीर मानला तर ऐलतीर हाच कसा पैलतीर हे दिसते.
लेखाचा पैलतीर कधीच येवू नये असे वाटत राहाते.

‘Yarrow visited September 1814’ या कवितेत Wordsworth म्हणतो :
“And is this—Yarrow?—This the stream
Of which my fancy cherished,
So faithfully, a waking dream?”
यारो चा हा प्रवाह माझ्या कल्पनेत मी सतत रेखाटत राहिलो, स्वप्न जगत राहिलो आणि जागेपणी पहात राहिलो.
तोच Wordsworth पुढे ‘Yarrow Unvisited’ मधे म्हणतो की असे स्वप्न कधीतरी संपतेच, तेव्हा त्याला आपण आपल्या कल्पनेतच बांधून ठेवले तरच ते चिरंतन राहू शकते.
“Be Yarrow stream unseen, unknown!
It must, or we shall rue it:
We have a vision of our own;
Ah! why should we undo it?”

म्हणून ‘बंदिनी’ वरील हे अपार सुंदर स्वप्नमय, काव्यात्म लेखन आपण आपल्या स्मरणात चिरंतन ठेवू यात, ‘A vision of our own’ प्रमाणे. अशी vision आम्हा वाचकांना दिल्याबद्दल लेखिकेचे त्रिवार आभार.

Tribute to Shanta Shelake

My sincere tribute to the Marathi poet Shanta Shelake who was born today in 1922 in इंदापूर, Pune. She wrote excellent poems,  songs (what we call भावगीत) and stage songs (नाट्य गीत) too.

A prominent one which comes to mind now is

“काटा रुते कुणाला, आक्रंदतात कोणी, मज फूलही रुतावे, हा दैवयोग आहे”

It is a नाट्य गीत which appears in a famous Marathi Sangeet Natak ‘हे बंध रेशमाचे’ by P K Atre.

It is composed and sung by another great artiste Pt Jitendra Abhisheki.  Sharing YT link.

It seems to be inspired by the most quoted Urdu lines “…अश्क आँखों से अब नहीं रुकते,
लोग कांटो से बचा करते है,
हमने फूलों से चोट खाई है,
हम ने अपनों से चोट खाई है॥

This brief note is my tribute to the great poet. 

Greeting the Pioneer Global Indian Political Thinker, Leader of the Masses लोकमान्य

वासुदेव बळवंत याच्या खटल्याच्या सुनावणीस टिळक आणि आगरकर उपस्थित राहिले. वासुदेव बळवंतांना फाशीची शिक्षा झाली. त्या महान क्रांतिकारकांच्या मागे जनता मोठ्या प्रमाणावर उभी राहिली नाही हे ध्यानात आल्याने केवळ क्रांतिकारक चळवळीमुळे स्वातंत्र्य चळवळ सामर्थ्यवान बनणार नाही तर त्यासाठी सर्वसामान्य लोकांना जागृत करून सहभागी करून घेतले पाहिजे हे त्यांना उमगले. ही राजकीय जागृती राष्ट्रपुरुषांच्या उत्सवातून करता येईल याची टिळकांना खात्री होती. म्हणून महाराष्ट्रात त्यांनी छत्रपती शिवाजी महाराजांचा उत्सव सुरू केला. रायगडावरील छत्रपती शिवाजी महाराजांच्या पुतळ्याच्या उद्धारासाठी त्यांनी रु. 50,000 इतकी देणगी गोळा केली. या उत्सवाला सर्व जनतेचा उत्स्फूर्त प्रतिसाद मिळाला. एका वर्षी कोलकत्त्यातही हा उत्सव साजरा झाला.

इथे सामान्यपणे लोकांना माहीत नसलेली एक गोष्ट नमूद करणे आवश्यक आहे. टिळकांनी मराठी भाषेच्या पुनरुत्थानासाठी मोठे कार्य केले. भाषेवर ती भाषा बोलणाऱ्या अधिकार असतो, केवळ प्रमाण भाषा बोलणाऱ्याचाच नव्हे असे सांगताना शिवजन्म होण्याअगोदर पोवाडा अस्तित्वात नव्हता याचे त्यांनी स्मरण करुन दिले. प्रादेशिक उच्चार भेदामुळे भाषाभेद उत्पन्न होवून भाषेचे नुकसान होवू नये म्हणून उच्चारानुसार भाषा लेखन असू नये, शुद्धलेखन त्यासाठी आवश्यक आहे असे त्यांनी हातवळणे (आणि इतर) यांच्या शुद्धलेखनावरील पुस्तकाच्या प्रकाशनप्रसंगी सांगितले.

याच वेळी त्यांनी सार्वजनिक गणेशोत्सव सुरू केला. लोक उत्साहाने एकत्र येऊ लागले. श्रीगणेश ज्ञानाची, कलेची देवता म्हणून तिच्यासमोर सांस्कृतिक कार्यक्रम, मेळे, कसरती याबरोबरच विविध विषयांवर व्याख्याने होण्यासाठी राजरोस व्यासपीठाचीही सोय झाली. टिळकांना जे लिहून लोकांपर्यंत पोहोचवायचं होतं त्यापेक्षा समोरासमोर बोलून दाखवता येऊ लागलं.

॥ ही मी देतों भाकर । ती खाऊं घाला लवकर । टिळकांप्रती अंतर । यांत कांहीं करुं नका ॥८८॥ या भाकरीच्या बळावरी । तो मोठी करील कामगिरी । जातो जरी फार दूरी । परी न त्याला इलाज ॥
लो. टिळकांना मंडालेच्या तुरुंगात जाण्याच्या अगोदर संत गजानन महाराजांनी आशीर्वादपर भाकरीचा प्रसाद दिला व गीतारहस्य लेखनास शुभाशिर्वाद व लेखनाचे भाकित केले होते.

प्रथम ‘Maratha’ हे इंग्रजी आणि नंतर ‘केसरी’ हे मराठी अशी वर्तमानपत्रे सुरु करणाऱ्या टिळकांचे अग्रलेख गाजले. सरकारचे डोके ठिकाणावर आहे काय? या अग्रलेखामुळे त्यांच्यावर राजद्रोहाचा (Treason) आरोप करून तुरुंगवासात मंडाले येथे ठेवण्यात आले. त्यांच्या अग्रलेखांनी ब्रिटिश सरकारची अक्षरशः झोप उडवली.

मंडालेच्या तुरुंगात असताना “गीतारहस्य अर्थात कर्मयोगशास्त्र” या ग्रंथाचे लेखन त्यांनी केले. वेदकालनिर्णयावर “ओरायन” आणि आर्यांच्या इतिहासशोधाचा “आर्क्टिक होम ऑफ द वेदाज” हे ग्रंथही त्यांनी लिहिले.

परखड, सडेतोड राजकीय अग्रलेखांची मराठीतील परंपरा लोकमान्यांशीच नाते सांगते.
•१९२० : लोकमान्य बाळ गंगाधर टिळक यांचे मुंबई येथे निधन ( जन्म : २३ जुलै, १८५६ – रत्नागिरी)

(ही पोस्ट माझा विद्यार्थी Surendra Gogate याने पाठविलेल्या पोस्टवर तसेच म सा प चे डॉ मिलिंद जोशी, श्री अरविंद गोखले यांनी आज सकाळी आकाशवाणी पुणेवरील Akashvani Pune Parivar विवेचनावर आधारित आहे.)