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Pandit Jitendra Abhisheki the only classical artiste who had a vision and so lives in cinema songs plays and of course Ragas

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*****Pandit Abhisheki, Academic, Activist, Artiste , Composer & Singer .. ***the great exponent of Agra Gharana **but above all the only Hindustani Vocal Artiste who made enormous contribution in fusion of Gharanas, *revival of Marathi Musical Play or मराठी संगीत नाटक (Katyar Kaljaat Ghusli कट्यार काळजात घुसली .. The Dagger Pierced the Heart ), *great composing and singing of emotional lyrics or मराठी भावगीत, *singing of film songs (गोमू माहेरला जाते हो नाखवा)... ****************************************** The great Marathi playwright Purushottam Darvhekar, it seems , wrote his play Katyar keeping in his mind the great musical talent of Pt Abhisheki Buva. The play is notable on various grounds. It argues quite effectively through the plot that mad insistence of a Gharana or a particular musical style associated to a particular founder of that style and a particular geographical or cultural association with which his Gharana or origin is recognised.. such insistence that the style of one Gharana should never be mixed with the other Gharana .. such madness is harmful for the sustenance of Hindustani Classical Music itself. Pt Bhanushankar , Ustad Aftab Hussein Bareilleywaley , Sadashiv (a child and a grown up artiste) , Uma and Zarina these are the main characters. I have the audio tape of the stage performance No 211 with me. The play is not only written by Purushottam Darvhekar but it's also directed by him. I don't think anywhere in India such a playwright is there who had thorough knowledge of classical music, excellent command on dramatic technique and who has set his play in one part of India but the play moves between a Sansthan (a princely state) in North India and Miraj in Maharashtra. (I have already explained the great contribution of this town in my blog on Pu La Deshpande's Peston Kaka). Just because of the lack of translations of regional plays in India the great contribution of such playwrights is totally neglected. Until today , in the two hundred years history of Marathi Musical Plays (starting in Sangli by Bhave) there are almost least or no attempts to translate great plays like Sangeet - Sharada (a play on child marriage by Deval more than 100 years ago) Saubhadra, Sanyasta Khadga, Swayamwar , Preeti Sangam .. or any of these and many other Sangeet Nataks (musical plays) into English. If Katyar had been translated at least in Hindi , it would have rocked the Indian Stage, it would have been translated from Hindi into English. It's difficult but not impossible. The compositions can be retained in Marathi and just the dialogues can be translated. This was not done all these any decades but fortunately Subodh Bhave and Desai (in my tape , there is one Hemchandra Desai who is Asst Producer) brought this marvelous work of dramatic art in the most effective medium of cinema recently and it rocked. It captured young minds and attracted them to Natyasangeet. The plot of the play is like this. Pt Bhanushankar is the court room singer (दरबारी गायक) of a princely state in North India. It's most covetous position in contemporary India of British Times. However, he is totally devoted to music and has least regard for this so called Royal Status. He wants music to stay in the young hearts and each one must try to learn music as the search of his soul and not for the sake of honour. He once heard the performance of Ustad Aftab Hussein Bareilleywale. Those who have heard Pt Abhisheki and Pt Vasantrao Deshpande can imaging what type of great jugal bandi ..( simultaneous presentation of two artistes) it would have been .. because Pt Bhanushankar was performed by Pt Abhisheki and Ustad by Pt Vasantrao (who had stayed in the house of Begum Akhtar in Bara Bunky near Ayodhya just to learn Thumri .. the light aspect of classical .. I'm making these notes for the sake of my scholar friends in Bareilley like Dr Purnima Anil) .. the tape which I have has Pt Bhargavram Achrekar as Pt Bhanushankar. Panditjee invited Ustad Bareilleywale to the annual music competition in the state in which one who wins is given the honour of the courtroom singer. Ustad and his family came to stay in the state. His wife , like Macbeth's wife is quite ambitious lady. She mixed and offered some potion in Panditjee's food on account of which he lost his voice. Meanwhile Panditjee made a trip to Miraj to treat his I'll wife. There he used to perform his riyaz in a Shiva temple. Sadashiv who was a small child heard his riyaz and made an appeal to him to teach him music. Panditjee consented. Before Sadashiv came to the state Panditjee has lost his voice and also the position of the court room singer. Sadashiv makes same appeal to Ustadji who is now the court room singer. He has got the Katyar .. the dagger (very much a reminder of the dagger in Othello with which he kills himself) which he can now use to kill someone in exclusive situation and the state law will not punish him with a charge of a murder. (This reminded me of Shylock in Merchant of Venice who wanted to kill his rival Antonio but Portia saves him in the garb if a man lawyer , arguing that he can't shed a single drop of blood while taking a pound of flesh from the body of Antonio.. बूंद ना गिरा एक लहू का... लागी करेजवा कटार ... this whole concept, it seems to be taken from Merchant of Venice but it's so creatively and aesthetically mingled with the plot on Indian Music by Darvhekar that I want to grade him as the best contemporary Indian Playwright ... just waiting to be translated ) .. Ustad is about to use this special permission of murder to kill Sadashiv because he has mixed the style of Panditjee with the style of the Ustad .. Panditjee appears on the scene. Whether Sadashiv defeats Ustad in the competition and wins the status ..? for Sadashiv the applause of the audience and appreciation of his Guru is more important than any honour or wealth. Readers of the blog are requested to arrange audio performance of my tape for them in which further discussion can take place. The contribution of the playwright from Vidarbha region in Maharashtra.. Purushottam Darvhekar and his combination with excellent music composed by Pt Abhisheki from Goa .. all these things are par excellence in the field of music and Indian stage. Recently a very famous woman artiste (Jaipur Gharana) in Indian Classical passed away. The well known Marathi daily in its editorial did not even mention Pt Abhisheki. It shocked me. I wrote this note on Katyar on that day .. I first put in my so called whatsapp group , then on Facebook. Just one artiste, a faculty in the music Dept of Mumbai University, Mrudula Dadhe-Joshi commented on it. Many Marathi persons did not utter a single word on it. I was further unhappy. Therefore I added many more details and completed this blog. Which will probably be read by large number of people in the world. 17-5-17 at 5 am (sharing on FB ) Post Script in Marathi : हो हो , खूपच! तशी तर विदर्भाने संपूर्ण राज्याची सांस्कृतिक काळजी घेतली आहे , व चांगल्या रीतीने घेतली आहे, हेच कट्यार ने सिदध होते. आज सकाळी 'कट्यार ...' मूळ नाटकाची टेप ऐकताना मला पेपरला पत्र लिहावेसे वाटले, विदर्भातले दारव्हेकर ज्या style ने उर्दू मराठी लिहीतात आणि उत्तरेतल्या संस्थानातल्य बुवांना थेट मिरजेतल्या सदाशिवाला भिडवतात ... + गोव्याच्या अभिषेकींकडून अजरामर संगीत बसवून घेतात ... खॅांसाहेब कोण तर पुन्हा नागपूरचेच वसंतराव ... हा सगळा मेळ विदर्भ व त्यात नागपुराने घातला आहे हे बघून ... मला लिहावेसे वाटले की वेगळा विदर्भ झाला तर महाराष्ट्राचा आत्माच काढून घेतला जाईल .. कोल्हापूर मिरज गोवा (दक्षिण) , औरंगाबाद .... तिकडे हैद्राबाद व इकडे नागपूर (उत्तर) असा सर्व महाराष्ट्र संयुक्तच हवा, उलट बेळगाव गोवा त्यात हवे ... राजकीय लोकांना काही हे अपील होत नाही ... यशवंतरावांसारखे सांस्कृतिक व्यक्तिमत्व सध्याचे नेतृत्व दाखवते का ते बघावे लागेल .. पण मूळ 'कट्यार' ऐकताना दारव्हेकर अभिषेकी वसंतराव ...त्यांची महान प्रतिभा.. याची दखल अलिकडे एका प्रसिद्ध दैनिकाने घेतली नाही.... परवाच्या गायिकेविषयी लिहीताना त्या पेपरने या महान कलाकार पं अभिषेकी बुवा आणि या लेखकाची आठवण केली नाही ... ब्लाॅग लिहून मी अभिषेकी बुवांना आदरांजली वाहिली , भावना लोकांपर्यंत पोहोचवण्याची भूक भागवली ... अभिषेकी गोव्याचे व त्या गायिका देखील तेथीलच पण संगीत नाटकाला जीवदान देणारे , ताईंच्या अगोदर संगीतातल्या घराणेशाहीला विरोध करून या नाटकातून तो मांडणारे , नृत्यामधे Ph D असलेले बुवा मात्र महाराष्ट्र विसरला ... खूप वाईट वाटतं याचं ... : डाॅ आर् वाय् शिंदे , वाई ( लिटरेचर लॅंग्विजिस् वाॅट्सप् ग्रूप वरील मूळपोष्ट १९-४-१७, ब्लाॅग वर संपादन करून पुन:प्रकाशित १६-५-१७ पहाटे ५ वा )

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Pt Gajananrao Joshi, Aundh, Satara, Classical Lavani Dipika

I liked your blog on Pt Gajananrao Joshi and your view that ordinary masses in Satara, the village folks, farmers are indeed great. Nowhere in the world will you find such villagers who are amorous, and full of valour and at the same time they support Indian Classical Music. In their love for Lavani they lose all their wealth ‘kaal Patil kay zala kamrecha aivaj visarun ala.. ’. Well in your discussion you said that the Lavani form is quite popular in Bollywood and we see Priyanka and Sonam dancing on a Lavani in Bajirao Mastani. However, it’s not Sonam but Dipika Padukone, just correct there, thanks, keep writing. ( Reader friends, you keep on writing on Whatsapp about your liking for my blogs and I always ask you to write below the blog, so I did from my other handset, using my other email ID just to know how to write a comment… use submit option, Write your name and email and give title to your feedback, write text, accept terms and conditions and submit) 

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very nice

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Qulaity blog.nice one.

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Shridharpant Tilak , a real Lokmanya , comments on my blogs

*श्रीधर बळवंत टिळक हेच खरे ’लोकमान्य’!* - डॉ. बाबासाहेब आंबेडकर..

श्रीधरपंतांच्या आत्महत्येनंतर ‘दुनिया‘ या मामा वरेरकर ( who translared another great Bengali writer Sharashhchandra into Marathi and adapted Galsworthy’s play Strife as सत्तेचे गुलाम ) यांच्या साप्ताहिकाने खास ‘ टिळक अंक ‘ प्रसिद्ध केला होता. त्यात डॉ.बाबासाहेब आंबेडकरांनी एक अप्रतिम लेख लिहिला होता. दोन असामान्य व्यक्तिमत्त्वांमधील अकृत्रीम स्नेहाचा धागा येथे देत आहे. *—*—-*—-*

मी , ता. २६ मेला जळगाव येथे बहिष्कृत वर्गाच्या सभेला गेलो होतो. आदल्या दिवशी जेव्हा मुंबईहून निघालो त्याच दिवशी रा. श्रीधर बळवंत टिळक यांचे एक पत्र मला आले होते. त्यात आपल्याला दापोलीच्या सभेला येता आले नाही याबद्दल वाईट वाटते वगैरे मजकूर होता. त्यात आत्महत्या करण्यासारखा प्रसंग ओढवला आहे असा ध्वनी उमटण्यासारखा काहीच मजकूर नव्हता.

दुपारी फार उून असल्यामुळे रा. लखाचंद यांच्या अध्यक्षतेखाली सभा संध्याकाळी सहा वाजता सुरू झाली. या सभेस पाच हजार लोक आले असल्यामुळे सभेचे कामकाज फार उत्साहाने चालले होते. हिंदुमहासभेच्या कामापेक्षा समाज समता संघाचा कार्यक्रम कसा परिणामकारक आहे , या आशयाचे थोडेसे कडाक्याचे भाषण संपवून नुकताच मी खाली बसलो होतो. इतक्यात एक तार आली. तार येण्याचे काही कारण नसताना तार आली यामुळे मला थोडा धक्का बसला.

वाचून पाहातो तो ज्या समता संघाच्या कार्याची महती गाऊन मी खाली बसलो होतो त्याच समता संघाच्या पुणे येथील शाखेचे उपाध्यक्ष माझे मित्र रा. श्रीधर बळवंत टिळक वारले म्हणून बातमी! मी अगदी गांगरून गेलो, आधी हे खरेच वाटेना. परंतु तार संघाच्या सेक्रेटरीने केली असल्यामुळे ती खोटी म्हणता येईना. अशा परिस्थितीत एक दुखवट्याचा ठराव मांडून मी सभा सोडून तसाच तडक मुंबईस आलो.

गाडीत श्रीधरपंतांच्या मरणासंबंधी अनेक तर्क माझ्या मनात आले व आपण आरंभिलेल्या कार्यातील धडाडीचा एक मोठा जोडीदार नाहीसा झाला हे जाणून माझे मन फार उद्विग्न झाले. श्रीधरपंतांना कोणीतरी दुष्टाने विषप्रयोग केला असावा असा माझा प्रबळ तर्क झाला. तारेत मरणाचे कारण काहीच दिलेले नव्हते. तेव्हा मरणाचे कारण हेच की दुसरे कोणते, हे जाणण्यासाठी गाडी मुंबईस केव्हा पोहोचेल असे मला झाले होते. गाडी दादरला पोहोचल्याबरोबर मी माझ्या ऑफिसात गेलो. ‘ टाइम्स’ हातात धरतो तोच श्रीधरपंतांचे हातचे मरणापूर्वी तीन तास अगोदर मला लिहिलेले एक पत्र टेबलावर पडलेले दिसले. तेव्हा ‘ टाईम्स ‘ टाकून ते हाती घेतले. वाचतो तो आत्महत्त्या हेच मरणाचे कारण होय, हे अगदी स्पष्ट झाले.

मग तर अगदीच कष्टी झालो. श्रीधरपंतांना मी थोडासा दोषही दिला. आत्महत्या हा मरणाचा भेसूर प्रकार आहे. परंतु ज्या कारणामुळे ही आत्महत्या घडली ती कारणे ध्यानात घेतली म्हणजे श्रीधरपंतांची आत्महत्या मोठी हृदयद्रावक होती असे म्हणणे भाग पडते. आपले आयुष्य ‘ केसरी ‘ कंपूशी भांडण्यात जाणार , आपल्याला विधायक काम करण्यास अवसर रहाणार नाही , यास्तव जगण्यात हशील नसून आत्महत्या करणे बरे, असे म्हणण्याची पाळी श्रीधरपंतांवर (या एका ठिकाणी मला मूळ आदरार्थी उल्लेख मिळाल्याने मी इतर ठिकाणी देखील तसा बदल केला ) यावी यासारखी दुसरी अनिष्ट गोष्ट ती कोणती ?

माझ्या मते श्रीधरपंतांना ‘ केसरी ‘ त जागा मिळाली असती तर तो घोर प्रसंग आलाच नसता. ‘ केसरी ‘ पत्रात आपणास जागा मिळावी ही एक त्यांची मोठी महत़्त्वाकांक्षा होती. टिळकांच्या मरणानंतर ज्यांच्या हाती ‘ केसरी ‘ गेला त्यांनी केवळ टिळकांचा मुलगा म्हणून श्रीधरपंतांना त्यांच्या वडिलांनी केलेल्या उपकाराची फेड या दृष्टीने ‘केसरी ‘ च्या चालकांत जागा द्यावयास पाहिजे होती. परंतु टिळकांचा मुलगा म्हणून नव्हे , तर भारदस्त लेखक या दृष्टीने ‘ केसरी ‘ च्या संपादक वर्गात श्रीधरपंतांचा समावेश व्हावयास पाहिजे होता.

राजकीयदृष्ट्या ते काही मवाळ नव्हते. जहाल , सुताळ आणि बेताल या सर्वांच्यापेक्षा ते फारच पुढे गेलेले होते. तेव्हा त्यांच्या लिखाणाने ‘ केसरी ‘ ला काही धोका नव्हता ,असे असताना त्यांना ‘ केसरी ‘ त जागा मिळाली नाही. याचे मला राहून राहून आश्चर्य वाटते. ‘ केसरी ‘ त जागा मिळाली असती तरीही ‘ केसरी ‘ कंपूचा भंड लागून जे व्हावयाचे ते झालेच असते असे काही लोक म्हणतील. कसेही असो एवढी गोष्ट खास की निदान पैशापायी काही भांडण झाले नसते. कारण श्रीधरपंत यांची मनोवृत्ती त्या दृष्टीने अनुदार नव्हती. तसे ते असते तर वडिलांची इच्छा पुरी पाडण्याच्या हेतूने त्यांनी ट्रस्टडीडवर बिनतक्रार सह्या केल्या नसत्या व आज ‘ केसरी ‘ कंपूवर हा त्यांनी केवढा उपकार केला आहे याची आठवण ‘ केसरी ‘ कंपूला झाली असती तर बरे झाले असते.

मला त्यांच्यासंबंधी काय वाटते हे मी त्यांच्या निधनासंबंधीचा लेख लिहिण्यास उद्युक्त झालो आहे यावरून सर्वांना जाणता येण्यासारखे आहे. कै. श्रीधरपंत टिळक हे एका ब्राह्मण्याभिमानी गृहस्थाचे चिरंजीव. त्यांचे वडील लो. टिळक यांना १९१६ साली जेव्हा मी ‘ मूकनायक ‘ पत्र चालवीत असे त्यावेळी दर अंकात जरी नसले, तरी अंकाआड शिव्याशापांची लाखोली वाहात असे. ब्राह्मण्याशी अहनिर्श लढणा-या माझ्यासारख्या अस्पृश्य ज्ञातीतील एका व्यक्तीने ब्राह्मण्याभिमानी व्यक्तीच्या पोटी जन्मास आलेल्या श्रीधरपंतांचे मरणाने दु:खी व्हावे हा योगायोग तर त्याच्याही पेक्षा विलक्षण आहे हे कोणीही कबूल करील. परंतु हा योगायोगच मोठेपणाची एक मोठी साक्ष आहे.

कोणी काहीही म्हणो , श्रीधरपंतांच्या वडिलांना लोकमान्य ही पदवी अयथार्थ होती. तेली, तांबोळी म्हणून बहुजनसमाजाचा उपहास करणा-या व्यक्तीला लोकमान्य म्हणणे म्हणजे लोकमान्य या शब्दाचा विपर्यास करणे, असे आमचे मत आहे. लोकमान्य ही पदवी जर टिळक घराण्यापैकी कोणा एकास साजली असती तर ती श्रीधरपंतांसच होय . टिळकांच्या हातून लोकसंग्रह झाला नाही. खरा लोकसंग्रह श्रीधरपंतच करू शकले असते. तो करण्यास ते उरले नाहीत, ही महाराष्ट्रावरील नव्हे हिंदुस्तानावरील मोठीच आपत्ती आहे, असे भिक्षुकशाहीच्या कच्छपी नसलेल्या कोणत्याही लोककल्याणेच्छू माणसास कबूल करणे भाग आहे.

(उल्हास पाटील, संगमनेर, यांची एका ग्रुपमधील पोस्ट. - प्रल्हाद मिस्त्री, दुरूस्ती करून पुन्हा पोष्ट केली : डाॅ आर् वाय् शिंदे , वाई )

Dear Reader, In continuation of the earlier post (which I will post here later ) here is the article by Dr Ambedkar who has denied the title of Lokmanya to Tilak and has claimed that Shridharpant Tilak , his son deserves the title of Lokmanya .. Leader of the Masses … more than Bal Gangadhar. It’s interesting to note that Mama Varerkar who introduced us to Sharadchandra (Sharad Babu of recently remade Devdas with Aishwarya Rai and Shah Rukh Khan) and who adapted Galsworthy’s play Strife for us as सत्तेचे गुलाम Slaves of the Power … he published this article in his periodical … now it’s an ointment in the eyes of certain people (intellectuals and so called academics included among them) to make them see that Varerkar was a Brahmin, Tilak of course and Dr Ambedkar had excellent understanding with such intellectual and liberal (though Tilak was not as liberal as Agarkar ) Brahmins. It grieves people like me to see that so called social leaders and politicians, including the intellectuals and press persons seem to divide people by the castes of their birth …isn’t this tragic? … We have made progress or regress… intellectually … it’s a matter of concern. …The other day I brought it to personal attention of one Great Maratha friend of mine , an English teacher (a member of my Whatsapp Group … I call him a Great Maratha because he had put a post canvassing that movement, which has lost its sheen after the daring Maratha farmer girl wrote in her suicide note that evil practices of victimising a bride for dowry must first stop and then fight for your rights) that I was wonder struck when I heard on Radio recently that the most beautiful bhajan in P K Atre’s famous musical drama - sangeet natak Preetisangam .. the natyageet .. राधाधर मधुमिलिंद जयजय रमारमण हरी गोविंद .. was written by the novelist who wrote Shreeman Yogi (a magnum opus on Shivaji the Great). It clearly means that a writer with the height of creative talent living in a small village near Kolhapur like Kowad was on excellent terms with P K Atre. Their social background did not come as a hindrance in their friendship. I wonder what type of society was in those days. I must have been a child then. However, I envy the earlier generation and today’s generation that has seen those days. My English teacher friend he didn’t respond to my question. This is exactly like my friend Dr C L Khatri calls in his famous poem Two Minute Silence. We have lost all values of good social relationship and we are extremely hypocrite when we stand up and observe silence. This is no silence indicating any peace. It’s a silence that breaks all limits of noise ..noise in relationships , noise in conscience, noise in politics , noise in fine arts and literature. … I had once removed that friend but included him again because the kind of reaction I expected from other fellow member teachers was so ‘cool’ that I was frustrated …. what use is our assertive action of choice or decision ordained by Sartre ? (whose ghost is still on our neck since our M A days ) I have realised that we can’t bring about any change in the system in which we work as teachers. …forming a whatsapp group of teachers, some sensitive senior society members and artistes was my meak attempt to organise right minded minority … but I failed.. now I don’t visit my own group any more..I have used the post in the group as a continuation here in the blog.. I place my views before a larger public. I’m happy that some very sensitive persons are there who have responded positively to my blogs. It’s difficult for them to submit their likes or comments in Tumbler here but I will use the ability of editing the blog and will put their comments here ..received in whatsapp ..(as direct copy of the chat .. authenticating … thanks !

1.1: [15/05 2:31 pm] Rajendraprasad Yashawant: It seems you want to say something on my blog posts but you are busy and don’t have time to go through steps on Tumbler. Just write your email and your opinion on any or all posts .. I will submit the same on the blog .. it’s essential to have responses on the blog for it to continue on Tumbler, मराठीत आपला अभिप्राय आणि घरातल्या कोणाचाही ईमेल पाठवा , मी तो टंबलर वरील माझ्या ब्लाॅगवर टाकतो : Dr R Y Shinde, Asso Prof Head Eng Vice Prin KVM Wai 15-5-17 1.pm [15/05 6:30 pm] Adv Home Mukund Wagh: My email is waghmd@yahoo.co.in

आपल्या ब्लाॅगवरील सर्वच लिखाण रोचक, उत्कंठावर्धक व मनोरंजक आहे. मराठीमधील उत्तम साहित्याचे सुबोध इंग्रजीत भाषांतर करण्याची आपली कल्पना तर फारच आवडली. आपल्या प्रयत्नांना मी मनापासून शुभेच्छा देतो व सुयश चिंतितो ! ——अॅडव्होकेट मुकुंद वाघ, सांगली.

1.2: Shriniwas Aasbe , Social Activist and thinker , Rajarampuri , Kolhapur greeted with a positive message and encouraged to keep on writing 2. My student (1989 Wai ) Pratibha Sutar nee Amita Bhagwat , Saraswati English Medium School Thane : [14/05 7:49 am] STE Pratibha Sutar-Bhagwat: Good morning!!,👍🏻 [14/05 10:51 pm] STE Pratibha Sutar-Bhagwat: Sir, read both your articles ..in Pt Gajananrao Joshi’s article you have referred Priyanka Chopra n Sonam Kapoor dancing on a lavani in Bajirao Mastsani..but it is Deepika Padukon with Priyanka Chopra..just wanted to bring it to your notice!!! Rest of d article is very informative!! About Peatonji ..what you mentioned is right by throwing d old writers in pro establishment category we are taking younger generation away from classic literature ..even in d school curriculum , to make d language application based they have excluded all d old writers n their classic literature…

3. My Ph D student Prof Babasaheb Kangune, Rajapur

[14/05 7:48 pm] Ph D Babasaheb Kangune: Good evening sir. I read your blog. [14/05 7:54 pm] Ph D Babasaheb Kangune: Really one should not categorize writers. One should go beyond artists class, caste, society to which he belonged. While appreciating any writer such third party evaluatuon should be there. [14/05 7:56 pm] Ph D Babasaheb Kangune: Sir you have really discussed the universal aspects of an artist which one should try to absorb while reading work of art. [14/05 7:59 pm] Ph D Babasaheb Kangune: A good reader should never say that this and this writer belong to backward classes or scheduled classes and he always writes about ‘Harijans’. Instead a good reader tries to find out universal values in such works. [14/05 8:00 pm] Ph D Babasaheb Kangune: Artists do not have boundaries of time, space and particular culture or society. [14/05 8:02 pm] Ph D Babasaheb Kangune: Sir you write such blogs having different subjects. It gives us new directions and insight.

4. My friend Avinash Medhekar, retired from IDBI , original Waikar ..

[15/05 3:56 pm] Chum Avinash Krishnaji Medhekar: Correct guessing you know my technical knowledge e mail __avinashmedhekar2015@gmail.com Opinion—-Good job done kindly keep it up. My best wishes.👌

5. 16-5-17 My student Swati asked about the lady in inset on this blog , I'm putting reply for the info of other inquisitive readers : [16/05 12:40 pm] STE Swati Banaras Pradip Kulkarni: Who is d lady with u in photo [16/05 1:58 pm] Rajendraprasad Yashawant: Vidushi Basavi Mukherjee , Professor and Head, Dept of Music , Ravindra Bharati University , Shantiniketan, Durgapur , Kolkata ... her photo was the cover page of my book ..CLOJ .. anthology of articles published in my international journal ... I met and gave her the copies of books ... she served food she made herself ... she is the only disciple of great Vidushi Prabha Atre ... she did her Ph D in music under her ... what did you think ?

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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. 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 )

[veeritesblog]

Pu La Transformational Stories, Peston Kaka edited blog, Pt Dastur Singing Gopala, Pt Bhimsen in audience 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. 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 at 2.21 pm 15-5-2017 )

[veeritesblog]

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. 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 to 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. )

[veeritesblog]

Pandit Gulwady corrected me on Facebook , the artiste who accompanies on Tabla is the artiste who is Guru samaan to him, he says :

"This was my GURU samaan, Pt S. V. Patwardhan."

Thanks Pandit Gulwady !

Pt Gajananrao Joshi playing Violin and Pt Omkar Gulwady on Tabla … a photo associated to my blog on this great artiste , vocalist and a master of Violin

[veeritesblog]

Pt Gajananrao Joshi (my FBP 18-11-2015)

Pt Gajananbuva Joshi, Greatest of the great musician, being the first in the fusion of Gharana_s, (mastered Agra , Jaipur and Gwalior .. all three Gharanas) only one Hindustani Vocalist till date who mastered violin and also ruled the audience as an excellent vocalist. He carried the mantle of his eminent father Pt Anant Manohar Joshi (Antubuva) who started Aundh Music Festival in the honour of his spiritual Guru... 75 yrs ago... In a small place Aundh... Royal family of erstwhile king पंत प्रतिनिधी and till now they have cherished this legendary legacy.. nowhere in the world will you get such a long-sustained legacy of a combination of royal support with the support of the masses. It's quite interesting to note that on the one hand you will find village folk in Satara District patronising the valour on the battlefield (largest number of martyrs in recent years in Army and Poiice) and on the other hand they are fascinated by the folk music tradition of praising the feminine charm .. Lavani ... or a song of beauty... like e.g. 'bugadi mazi sandli ga, jata Sataryala .... you can see the popularity of this form of music even in contemporary cinema .. otherwise elitist Priyanka Chopra & Sonam Kapoor dance on a Lavani inspired by famous Patthe Bapurao (Kulkarni) : (lachakat lachakat tuza chalana mothya nakharyacha .. you walk in a frivolous gaiety but with such a grandeur ..) in the film Bajirao Mastani. These very village folks flock to this Aundh Music Festival in their farm Labour apparel and listen to this elitist Raga music... Someone once told me that in Venice & Rome musicians sing in squares and people appreciate but the difference between the rural masses patronising Indian Classical Music and the folk music which is performed in Roman and Venetian squares is that the latter is not (western) classical music... Pt Gajananrao Joshi made it all possible. ... Thanks to Pt Omkar Gulvady a rare picture of Pt Gajananrao playing on violin and Pt Gulwady accompanying on the Tabla was posted earlier in November 2015 when this post was written on Facebook and with certain editing I'm posting on this blog here.

[veeritesblog]

Some corrections : cotton wheel could be spinning wheel also. Rather than courting damsels why do you strain your eyes at this drudgery .. this variation is possible.

He used to rush to Pune to oversee the rehearsals of his plays and used to return by next day early morning passenger to his office ...

Indian Literature in Translation

I will go free lance to translate from Marathi into English here. Today is the anniversary of great Marathi writer Prahlad Keshav Atre .. he used to funnily say that his name itself has theatre in it .. the atre … I’m posting a passage on him here and I will translate it into English :

पुरुषोत्तम लक्ष्मण आगे बढो - आचार्य अत्रे पुलंच्या एका सत्कार समारंभानंतर अत्र्यांनी त्यांच्या ‘मराठा’ दैनीकात पु.लंवर हा लेख लिह��ला होता P K Atre wrote an article on another humorous writer in Marathi Purushottam Lakshman Deshpande or Pu La Deshpande as he is known to the public. Atre wrote this article on him after a felicitation function of Pu La ..

मराठीतील ख्यातनाम विनोदी लेखक, महान संगीतकार, उत्तम दिग्दर्शक, कुशल नट आणि आमचे परममित्र श्री. पुरुषोत्तम लक्ष्मण देशपांडे यांची ४७ व्या मराठी नाट्यसंमेलनाच्या अध्यक्षस्थानी निवड झाली, म्हणून परवा विलेपार्ले येथे त्यांचा भव्य सत्कार करण्यात आला. The eminent humorous writer , great music composer , skilled actor and my close friend Purushottam Lakshman Deshpande was elected as the President of 47th Marathi Natya Sammelan and so he was magnificently felicitated in Vile Parle recently.

मुंबईतील अनेक सत्कारसमारंभ आम्ही पाहिले आहेत आणि स्वत: आम्हालाही अनेक वेळा या सत्कारांना ’तोंड’ द्यावे लागले आहे, परंतु काल ’पु.ल.’ यांचा आम्ही जो सत्कार पाहिला तो अक्षरश: अविस्मरणीय होता. I have witnessed many such felicitation functions and even I have ‘faced’ many such felicitations myself but the felicitation of Pu La that I witnessed yesterday was literally unforgettable.

त्याची भव्यता, त्याची गोडी दीर्घकाळ मनात रेंगाळत राहणारी! जनतेचे पु.ल. यांच्यावर किती अमाप प्रेम आहे. नि मराठी माणसाला राजकारणाप्रमाणेच नाट्याविषयीही किती ’रस’ आहे त्याची ’पोचपावती’ काल पु.ल. यांच्या सत्काराला दहा हजारांच्यावर प्रचंड संख्येने गर्दी करुन जनतेने दिली आहे. The grandiloquence of that felicitation will stay in memory for a long time. How greatly the (Marathi) public loves Pu La and how much the Marathi man takes keen interest in theatre as much as politics is acknowledged by the public by gathering in the crowd of more than ten thousand.

हा सत्कार जर ’शिवतीर्था’वर झाला असता तर सारे ’शिवतीर्थ’ वाहून गेले असते! आम्ही स्वत: पु.ल. यांच्या विनोदावर, पु.लं.च्या नाट्यकृतीवर नि विशेषत: संगीतावर बेहद्द खूष आहोत! The whole 'Shivteerth’ (the bastion of the major .. then in opposition .. political party Shivsena .. known by its lion like leader and founder Balasaheb Thackeray ) would have flown out had this felicitation been taken place there! I myself am damn pleased on Pu La’s humour, Pu La’s plays and especially on his music. महाराष्ट्रात एवढा बहुगुणी आणि निर्मळ वृत्तीचा माणूस आज तरी आम्हाला दिसत नही! परवा हा जो पु.ल. यांचा भव्य सत्कार झाला त्या सोहळ्याला अध्यक्षस्थानी आम्ही स्वत: होतो. There is no other soul as having such a multi dimensional personality and having as a pure heart as him. The recent grand felicitation of Pu La was presided by I myself.

आम्ही अध्यक्ष होतो म्हणून पां. वा. गाडगिळांनी पाठविलेल्या संदेशात मोठ्या आपुलकीने पु.ल. यांच्याबरोबर आमचाही गौरव केला. परंतु पु.ल. यांच्या सत्काराला आम्ही अध्यक्ष होतो ह्याचा पु.ल. पेक्षा आम्हालाच खरोखरी आनंद वाटला. P V Gadgil (another week known Marathi writer and columnist of those days), with great affection, appraised me in his written note of greetings but the fact that I was the president of Pu La’s felicitation delighted me indeed.

महाराष्ट्रात मराठी भाषेची, मराठी कलेची, मराठी नाट्याची ज्यांनी ज्यांनी मान उंचावली त्या प्रत्येकाचा मुक्तकंठाने गोरव करण्यात आम्ही धन्यता मानली आहे आणि पु,ल. चा आणि आमचा संबंध तर कितीतरी वर्षापूर्वीचा आहे.

I have always found great pride in whole heartedly appraising all those writers and artistes who have raised the standards of Marathi language , Marathi art and Marathi play and my relationship with Pu La is pretty many years old.

आमच्या एका किर्तनाला पु.लं. नी मागे टाळांची साथ देऊन तुकोबांचा एक अभंग रसाळपणे म्हटल्याचे आम्हांला आठवते. तेथपासून आम्ही पु.लं.च्या प्रत्येक गोष्टीचं कौतुक करीत आलो आहोत.

I remember Pu La accompanied me in one of my Keertana ( a musical narrative of a story with a certain theme, having ancient tradition from mythical Narada, coming down to our times through Sant Namdeo) with a Taal (a brass metal instrument divided into two parts and played by striking on one another to observe timely repetition of musical pauses and continuations) and sang an 'abhanga’ (a poetic form used by saints ) of Saint Tukoba (Tukaram) quite melodiously. From that time onwards I have been praising each thing of Pu La.

ही व्यक्ती एवढी बहुरंगी आहे की, त्यांना काय येत नाही हाच मोठा प्रश्न आहे. त्यांच्या विनोदाचा वारसा त्यांना आजीकडून मिळाला असल्याचे ते सांगतात. ती गोष्टही मोठी गंमतशीर आहे.

This individual is so multi faceted that it’s difficult to decide what he cannot do (in literature and arts). He says his humour is a legacy he got from his Aajji (grand mother). That’s again a quite fantastic tale.

त्यांच्या आजीकडे त्यांचे मामा काही मंडळी घेऊन येत. ती बहुधा पेहेलवान असत. एकदा त्यांचे मामा आजीला म्हणाले की, ’आजी ही माणसे पेहेलवान आहेत बरं का.’ तेव्हा आजी म्हणाली, “असं का, बरं झालं, मघापासून कोळशाचं पोतं घरात आणायला मी माणूस पाहातच होते!”

His Maamaa (maternal uncle) used to invite some guests at his Aajji’s place. Most of the times they used to be wrestlers. Once his Maamaa said to his Aajji ,“ These people are wrestlers, do you get me ?” Aajji said on this,“ Oh , is that so, that’s great , I was searching for someone to fetch that char coal sack into home”.

पु.ल.. यांचा आजचा विनोद , आजची व्याख्याने आणि सर्व लेखन वरवर पाहिले . तरीही त्यांच्या आजीच्या या धर्तीच्या उपजत विनोदावरच ते सारे पोसले आहे हे अगदी खरे आहे. If we oversee Pu La’s humour, his speeches and his writings today, it’s quite true that his Aaji’s humour has fostered all his creations.

’तुझे आहे तुझपाशी’ हे नाटक तसेच खोगीरभरती. नस्ती उठाठेच, गोळाबेरीज हे कथासंग्रह. अपूर्वाई, पूर्वरंग ही प्रवासवर्णने आणि ’पुढारी पाहिजे’ या लोकनाट्यातील उपहासगर्भ विनोद यामागेही हीच वृत्ती आहे. The play 'Tuze Ahe Tujpashi’ , travelogues, short story collections like 'Khogir Bharati, 'Apporwai’ , 'Poorvarang’ and the sarcastic humour in his loknatya (pageant having a flavour of rural folk language) 'Pudhari Pahije’ .. all these show the same humorous temperament influenced by his Aajji.

पु.ल. यांचा विनोद अत्यंत निर्मळ आहे. आयुष्यात त्यांनी वावगे काही लिहिले नाही. विनोदी लेखकांविषयी समाजात पुष्कळ गैरसमज असतात. विनोद ही अत्यंत अवघड गोष्ट आहे हे आम्ही अनुभवावरुन सांगतो. The humour of Pu La is quite harmless. He did not write anything to hurt anyone. There are many misunderstandings about the humorous writer in our society. Humour is the most difficult thing. I say it from my own experience.

विनोद करणारा माणूस समाजातील ज्या व्यंगावर विनोद करतो त्याचा त्याने सूक्ष्मपणे अभ्यास केलेला असावा लागतो. जीवनातील विसंगती हुडकताना त्याला सुसंगतीचा साक्षात्कार झालेला असतो.

The humorous writer has to first minutely study all the shortcomings in the society on which he makes his humorous comment. He must have complete understanding of the congruity in human life while he pin points at the incongruities in our life.

सर्कशीतील विदूषक वरुन जरी बावळट दिसला , तरी सर्व ’क्रिडापटूंची’ कला त्याला अवगत असते , ह्याची कितीकांना कल्पना असते? विनोदकरांचे असेच आहे. The joker in the circus appears to be a simpleton but he is a perfect master in all acrobatics performed by others. People are rarely aware of this fact. Humorous artiste is like this joker.

पु.लं.चा विनोद हा विनोदाचा एक स्वतंत्र प्रकार आहे आणि नाट्यातील त्यांचा विनोद तर खरोखरीच अतिशय आल्हादकारक आहे. ’तुझे आहे तुजपाशी’ मधे ’सुत’ कातणार्‍या श्यामला काकाजी म्हणतो, ’ज्या वयात सुत जमवायचे त्या वयात सुत काय काततोस?’ The humour of Pu La is of a type that can be classified as a different humorous literary form. The humour in his plays indeed quite pleasant. Kakaji in 'Tuze Ahe Tujpashi’ says to Shyam who is drawing a cotton thread on traditional cotton wheel “,In the age when you have to draw attention of a beautiful girl , why do you waste time in drawing the cotton thread ?”

हा विबोद किती श्रेष्ठ दर्जाचा आहे! या विनोदात केवळ शाब्दिक कोटी नाही. जीवनातले एक तत्वज्ञान त्यात सामवलेले आहे. नाट्य आणि राजकारण ह्यांचे बाळकडू मराठी माणसाला मिळाले आहे. म्हणून मराठी माणसाच्या जीवनात संघर्ष व नाट्य आहे. This humour is of highest literary value. Here there is not a simple pun on words. There is life’s philosophy embedded into it. The Marathi man is trained in Theatre and Politics since his childhood. Therefore there is conflict and drama in the life of a Marathi man.

हे नाट्य आणि जीवनातील संघर्ष पु.लं.नी बरोबर ओळखला आहे. म्हणूनच पु.ल. यशस्वी नाटककार झाले आहेत.एक गोष्ट सांगतो, पु.लं.च्या नाटकातील तंत्राविषयी आमचा थोडा मतभेद आहे. Pu La has exactly identified the said drama and conflict. Therefore Pu La has been a successful playwright. However, I must tell you that I have some sort of disagreement regarding the dramatic technique in Pu La’s plays.

पु.लं.च्या नाटकात काही वेळा हास्य व अश्रू यांची गल्लत होण्याचा संभव वाटतो. पु.ल. यांचा प्रयत्न नि:संशय मोठा आहे. एकाच वेळी हसू ओठावरून रुंदावत असताना क्षणात डोळ्यांतुन पाणी काढणे हे असामान्य सामर्थ्य आहे नि:संशय. पु.ल. तसाच प्रयत्न करीत आहेत.

Sometimes there is a possibility of being mistaken in Pu La’s plays as far as the situations of laughter and tears are concerned. Pu La’s attempt to make the audience laugh and cry at the same time is indeed laudable. There is no doubt about his great strength in making one cry while laughter spreads on his lips. Pu La is attempting this in his plays.

अर्थात अवघड प्रयत्न आहे हा. आणखी एक गोष्ट सांगतो. पु.लं.च्या विनोदामध्ये पुषकळ वेळा ते पटकन आत्मलक्षी बनतात. ह्याचे कारण त्यांची मूळची वृत्ती भावुक असेल हे खरे, परंतु यामुळे विषयाचा रसभंग होण्याची शक्यता असते. पण हे आमचे किरकोळ मतभेद आहेत. Of course it’s a difficult attempt. One more thing, in his humour Pu La at once becomes a self centred person. It’s true that by temperament he is quite sensitive. However, this might badly affect the tempo of the particular dramatic situation. These are but a few instances of the differences in our opinion.

पु.ल. यांच्या गौरवाला, श्रेष्ठपणाला आणि समर्थ लेखणीला त्यामुळे जराही उणेपणा येत नाही. कारण पु.ल. चे लेखन मग ते नाट्य असो, कथा असो की प्रवासवर्णने असोत– इतकं सिद्धहस्त आहे की, एक दोन मतभेदांतून त्याला कधीही कमीपणा येणार नाही.

This does not least affects his greatness , superiority and mastery of Pu La as a playwright and artiste because his writing, may be a play, a story or a travelogue display such a superb flair as a writer that these few differences of opinion will never belittle his greatness.

पु.ल. यांच्या नाट्याचे आणि साहित्याचे समीक्षण करण्याची ही जागा नाही नि वेळही नाही. पु.लं.चे फक्त कौतुक करायची वेळ आहे. ते सिद्धहस्त आहेत. नाट्य-कलेबाबत बोलावयाचं तर फक्त आम्ही एवढंच म्हणू की, ’तुझे आहे तुजपाशी’ हे एकच नाटक पु.लं.नी जरी लिहिले असते तरी आम्ही त्यांना ’नाटककार’ गौरविले असते.

This is no place and occasion to critically comment on Pu La’s plays and literature. This is an occasion to simply praise him. If I have to say something about his dramaturgy (dramatic art ) I can just say that had he written only 'Tuze Ahe Tujpashi’ I would have appraised him as a great playwright.

ह्या एकाच नाटकाने ते अमर झाले आहेत. आमच्या परवांच्या भाषणात पु.लं.च्या गौरवासंबंधी बोलताना आम्ही एक मुद्दा मांडला. आजपर्यंत अनेक वेळा आम्ही तो मुद्दा मांडला आहे. This one play has made him immortal as a playwright. I raised a point in my speech in Pu La’s felicitation. I have raised it a number of times earlier.

स्वत: आम्ही, पु.ल., विजय तेंडुलकर, बाळ कोल्हटकर, वसंत कानेटकर इत्यादी नाटककार मराठी रंगभूमीवर तेजस्वी कामगिरी बजावत असताना नटश्रेष्ठ केशवराव दाते ’मराठी रंगभुमी १९३० नंतर संपली’ असे म्हणतात. याचे आम्हाला परमदु:ख होते. It grieves me supremely when the supremely great stage artiste Keshavrao Date says that “The Marathi Theatre died in 1930” while I myself, Pu La , Vijay Tendulkar, Bal Kolhatkar, Vasant Kanetkar and other playwrights are working supremely for Marathi Drama.

केशवरांनी या नाटकरांना, नविन नटांना आणि नटींना उत्तेजन द्यावयास हवे, आशीर्वाद द्यावयास हवा! आजची प्रगतीशील मराठी रंगभूमी नटवर्य दाते यांजकडून आशीर्वादाची अपेक्षा करीत आहे. Keshavrao ought to encourage these new playwrights, new actors, new actresses, he ought to bless them! The progressive Marathi Theatre of today is expecting blessings from the ace actor , the doyen of Marathi stage like Keshavrao.

प्रोत्साहनाच्या दोन शब्दांची अपेक्षा करीत आहे! आणि एवढेही सांगून केशवरांवाना मराठी रंगभूमीचे आजचे तेजस्वी रुप दिसले नाही तरी तिच्या यशाची पावती लक्षावधी जनतेकडून आज मिळत आहे.

We are expecting a word or two of praise from him. Despite our sincere most appeal if Keshavrai cannot see the glaring progress of Marathi Theatre today we know that Marathi audience is acknowledging it in millions.

हे अमाप यश रंगभूमी मेल्याचे लक्षण आहे काय? परवा भाषणात पु.ल. देशपांडे म्हणाले की. नाट्याच्या प्रेमाने प्रेरीत होऊन मुंबईहुन ऑफीस सुटताच डेक्कन क्विनने पुण्याला जाऊन तीन वाजेपर्यंत तालमी उरकुन नि पहाटेच्या पॅसेंजरने परत मुंबईत कामावर येऊन मी हजर होतो. Is this, the immeasurable success of Marathi Stage the sign of its death? The other day Pu La told in his speech that having been inspired by his love for the stage he rushes by Deccan Queen to Pune after his office hours, oversees the rehearsals of his plays till 3 am and reaches back to his work in his office in Mumbai by catching the early morning passenger.

रंगभुमीचे उज्ज्वल दिवस टिकवण्यासाठी धडपडणारी नवी नवी मंडळी काय ’मराठी रंगभूमी संपली’ म्हणून ही आटापिट करताहेत? पु.ल. यांच्या सत्काराच्या निमित्ताने आज पुन्हा ओघाने हे लिहिले.

These children of Lake Isle of Innisfree … these people working day and night for sustaining the glorious days of the Marathi stage … are they doing all this because 'Marathi Theatre is Dead Now’ ? I wrote all this on account of Pu La’s felicitation.

मराठी नाट्यसंमेलनाच्या अध्यक्षपदाची माळ पु.ल. यांच्या गळ्यात आज पडली आहे, ते काही फारसे गौरवाचे नाही. यापूर्वीच त्यांना तो मान मिळण्यास हवा होता. It’s not at all a matter of great significance that Pu La is honoured by the prestigious garland of being the President of the Marathi Natya Sammelan. He should have been honoured by this position much earlier.

आणखी एकदोन वर्षात ते साहित्य संमेलनाचेही अध्यक्ष होतील आणि मराठी भाषेतील हा विद्वान पंडीत मराठीचा झेंडा आपल्या असामान्य , कोटीबाज विनोदाने नि खुसखुशीत शैलीने फडकत ठेवील यात काय शंका?

I have least doubt that this erudite scholar of Marathi language will become the President of the Marathi Sahitya Sammelan (the Annual Literary Meet of Marathi writers) in next two or three years and he will keep the flag of Marathi shining high by his exemplary humour enriched with his witty language and catchy puns.

आम्ही स्वत: गडकरी, कोल्हटकर, ठोंबरे यांच्या पिढीत वाढलो आहोत आणि परवा आम्ही म्हटल्याप्रमाणे त्या प्रतिभासंपन्न आणि थोर लोकांच्या परंपरेतील एक प्रतिनिधी म्हणून आम्ही पु.ल. यांच्या मस्तकावर आशीर्वादाचा हात ठेवीत आहोत! I have been reared among the earlier masters of Marathi Literature.. the earlier generation if writers like Gadkari, Kolhatkar, Thombre and as the right representative of those great masters I bless Pu La by touching his forehead with my benign hands.

यापेक्षा आज ह्या क्षणी आम्ही अधिक लिहू शकत नाही. पु.लं.च्या असामान्य कर्तुत्वाने भारावलेल्या अवस्थेतच आम्ही पु.लं.च्या नव्या निवडीबद्दल त्यांचे मन:पूर्वक अभिनंदन करुन सांगतो. पुरुषोत्तम लक्ष्मण आगे बढो! I can’t write more than this on the occasion. While being mesmerised by Pu La’s unprecedented achievement I heartily congratulate his election as the President and say “Purushottam Lakshman, go ahead!”

आचार्य अत्रे मराठा ११-१-१९६५

Acharya Atre Maratha 11-1-1965

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