PhalkeFactory - User contributions [en]

1871

2013-02-19T08:33:14Z

KaranWorah:

[[Image:250px-Hindu calendar 1871-72.jpg]]

A large shadow on the wall, of a suited man, writing.

Phalke:

My wife, who has more often than not had only a share in the extraordinary trials that seem to be the fate I have chosen for myself, has consented to write this text for me. Sometimes I narrate it to her, sometimes I talk to my children, sometimes, in the quiet of this house, where I try to forget how the studio has fallen silent, I write myself. In these recent dark days my family has gathered around me like a clay holder sheltering this faltering lamplight. I hear my children talk and want those conversations recorded.
I want to leave behind me a record for my children.

Saraswati passes by, crossing the shadow.

Phalke:

I look at her and often think I could have given her more, she was such a child when she came to me, and I was so lost, I never noticed. I could have taught her more. I could have....
Instead, like she has ably shared in all my work, she now shares in my writing. I have asked her to make a faithful a record of these days, to become the Vyas to my Ganesh.

दो हाथों ने आटा गूँथा. तोड़ कर गोल किया. बेलन चलाया. फिर हाथों से उठा कर हवा में नचाया. और गरम तवे पर रखा. मिटटी के चूल्हे में आग भभक रही थी और इस वजह से माँ का चेहरा दमक रहा था. स्वर्ण कण ऐसे कि सूरज के आने पर इन्कार करती सुबह कि ओस.
माँ ने मुढ़कर देखा तो घुटने के बल चलकर धुन्दिराज दीवार के पास मिटटी खोद कर खा रहा था.
फौरन उठ खड़ी हुई और भाग कर उसे गोद में उठाया. एक उंगली मुँह में डाल कर मिटटी बाहर निकली. दो थप्पड़ रसीदे और धम्म से ज़मीन पर पटक दिया. धुन्दिराज चीख कर रोने लगा.
द्वारकाबाई: रो, पेट भर कर रो!
द्वारका को कुछ सूझा . तेज़ी से उठ कर कुछ ढूँढने लगी. एक साड़ी का फटा टुकड़ा मिला. उसे दो टुकड़ों में फाड़ा और गोविन्द के हाथों में ऐसे बाँधा जैसे घोड़े के खुर.

बाल सवारते द्वारकाबाई ने एक नज़र आसमान देखा. आकाश में एक इकलौता बादल. कुछ क्षणों बाद जैसे -जैसे पलंग का डोलना स्तभित हुआ.. बादल का टुकड़ा गतिमयी हुआ. धुन्धिराज की नाक की सीध में आया. रोदन अचानक थमा. पालने में ऐसे पड़ा रहा जैसे कि परलोकिक घटना का मूक साक्षी.
उसकी आँखों की पुतलियों में एक कम्पन हुआ. चल कर नाक के पास मिलीं. तभी एक विचित्र सा सफेद सारस पालने के पास उतर कर बैठा. वह किसी धूसर सफेद धातुओं के कलपुर्जों से बना था. इधर, चूल्हे के अंगार को राख से ढक कर वो सोच रही थी... हवा में छाई स्तभता ने उसे चौंका दिया. धुन्दिराज का रोंदन अचानक थम क्यों गया. दिल पर हाथ रख कर वो बाहेर की ओर लपकी. धुन्दिराज मानो समाधि में लीन था. हाथ ऐसे खुले थे जैसे तुकारामजी ने करतल पकड़ रखी हो. चहरे पर विघ्नकारी मुस्कान पर मूंह में कोई आवाज़ नहीं. पालना स्थिर था. मानो आकाश पर उस बादल के टुकड़े ने उसे सम्मोहित कर रखा था.
यकायक तभी वातावरण में छाई तीव्रता लुप्त हुई. हवा बहने लगी और साथ साथ उस बादल के टुकड़े को भी ले जाने लगी. इधर बादल हिला और उधर पालना खुद ब खुद झूलने लगा.. धुन्दिराज की समाधि टूटी. वह रोया द्वारकाबाई: हे देवा, मैं तो डर गयी थी, क्षमा कर दे. अब कभी न बाँधूंगी.

[[Image: Baby-cradle klimt.jpg ]] [[Image:Secretary Bird 2005-01-16-0384.jpg]]

[[translation Dwarkabai and Dhundi]]

[[Image:Dwarkabai.jpg]]
-----------------------
Memories of an unknown man who had also dabbled in the art of [[magic lanterns]], who continued to love it till his dying day. His diary entries have been culled and part of Hepworth's 1897 book on film, but somehow got edited out. We include some of those excerpts in this edition of The Fathers of Film. Copyright with Messrs. Craddock and Haddock, London.

5th annual tour
B.A. Bamber's

Dime Show

The Planetarium

Natural Scenery

The Ill Fated Ship

The Highland Lover's Courtship for Marriage

Statutary

Miscellaneous- Numerous Comic SCenes

Electricity without Extra Charge

Positively everything advertised on this Bill will be Shown

Only 10 cents for Anybody and Everybody

We paid for the patches of light that wobbled out of the darkness. Soft outlines of shapes slowly revealed themselves aided by the eagerness of our straining eyes. Stars came on and went off with precision above the quiet of painted houses.
Thick pears leaned down from branches under which the haughty maiden sat. The suitor on his knees be her feet opened and closed his lips with a mechanical repitition which so well expressed a craven hopefulness.

A ship was tossed like an egg on a pan. A man fell off his bed.
What use those glass cased butterflies that it is our botanists' wont to collect. What comparison with the milliseconds of time that those same wings, alive, generate with a flutter? Movement makes time.
We were working with machines which were beginning to make time.
The light source, lenses, glass plates with pictures on them, and a screen, these made our magic lanterns. The discovery of Limelight had made the illuminated image larger, the projections more defined.
Their flickering was the breath of life.

--------
[[Professor Pepper]] on ''The Siege of Delhi''

The optical effects were assisted by various sounds in imitation of war's alarms, for the production of which more volunteers than were absolutely required would occasionally trespass behind the scenes, and produce those terrific sounds that some persons of a nervous temperament would say were really stunning"

[[Image:Udhne vaala ghoda.jpg]]

-----

Thamiraparani

This is a story of a red tamarind tree that flows as a river past the village of Idayankudi.
Two schoolmates met here, Lord Napier and Bishop Caldwell. Would you have thought, looking at one's frocks and the others grand vestments that once they were boys rolling together on the grass of Eton?
Napier is adding titles to his name, the very next year, he would be Baron of Ettrick.
Caldwell was collecting stories, all stories about the sourly named many limbed river that flowed by the Indian village he lived in- Idayankudi.

It is funny how old schoolmates can, regardless of change of dress, of habitat, of visions of happiness, still rush into old school gossip, repeat the names of teachers and their own names for them, like a holy litany.
But Napier did feel uneasy by the man before him, by his immersion in an alien- could he call it a culture?

Caldwell was immersed. Had he not, in that very meeting, asked for some red chalk- geru- and there on the floor by the Vijayanarayanam tank, drew him a snake like object, like a totemic representation of a river.
He had then stood back in satisfaction looking at his schoolmate.

Two schoolmates meet on the west side of the Vijaynarayanam tank. Lord Napier and Bishop Caldwell. Caldwell is living in a village in Idayankudi.

"The red tree flows through Tirunelveli district. Like the branches of a tree it permeates corners of the red soil".
He had laughed when Napier expressed his unease with the drawing
"The clasp of a snake, the flow of a river, the self entangled vine with flowers, all growing out of the same bed, an identical grid of dots makes them all."
Caldwell's finger had become his pencil, he was not even using the chalk any more, he was dipping it in a white we rice paste, it set up a rising distate in Napier, who had once seen, from a distance, an Indian squelching rice in a plate with his fingers, before eating it.
And still he could not get his eyes off the pattern that seemed to be coming out of that wet finger, trailing behind it.

It came back to him many years later in a dream in Scotland.An entangled vine made of red and white liquid pulls him into its messy estuaries, that seem to be a coil of snakes, his mattress.. he sinks further, screaming, into a grid of white dots made of sticky paste.

"Is that not how these Indians paint their gods, totemic, lines, circles, stuck to the canvas like these lines are stuck to the floor." He had said that time, standing with the strange Caldwell.

He felt relief when he saw the Thirumalai Nayak Palace that he visited some time later in Madurai, the Indo Saracenic architecture, the thousand pillars the elaborate paintings on the ceiling, he feels in control of, impressed by and willing to restore. Devi Meenaxi marries the poet Sunderesvar on the ceiling of the palace.
"Why do I not see such work on canvas? " asks Lord Napier. "Why does such third rate work come from the Madras School of Art?"
All the people around him nod their heads so he thinks he is saying something important. Ha ha ha

Sarasvati bai: But people must be nodding their heads at him all the time

Phalke:
Hmm
He thinks about the matter.. quite often actually, and later makes his famous address.

Late evening on the balcony of the old navy building. Ships are docking in the distance. Young soldeirs from different parts of the world must be loitering around the docks.

[[Lord Napier]], Governor of Madras talks of how he wants the development of an Indian style that 'deals with the ideal and the allegorical', in which 'the virtues, the graces.. and other abstract conceptions and agencies are clothed in human forms which owe their majesty or their terrors to the Artist"

He sees the endless possibilities of re-imagining the treasures of the epics
"All that is needed to promulgate their beauty and fame is that, in their purest and nobler passages and with the powers of European Art, they should engage in the service of the national pencil as they have fastened on the national memory and animated the national voice"

-------------------------------

[[Image:Matsya.jpg]] [[ matsya]]

The screen of a framed picture is like the sky, the abode of the gods. A piece of sky before me where from his world, God looks me in the eye.
The person on the screen sees me as I see him, he knows me, I can see it in his eyes.

Should he look away at some one else on the screen, then what is the picture to me?

A little girl wants to visit Sharukh Khan's house in Bandra.. he knows me, she says, when her mother points out the bad manners of barging into an unknown person's house. "He sees me from the television every day".

---------------------

1890

2013-02-18T11:45:00Z

KaranWorah:

young gohar jaan [http://www.the-south-asian.com/Oct2003/images/gauhar3-c%201890%20-%20young%20gauhar.jpg]

[[Image:Gauhar8.jpg]]
[[Image:Morning glory.jpg]]

[[Image:Early flight 1880-90.jpg]]

Gurusaday Dutt
"the living traditions of the distinctive arts of each province existed in an almost unbroken current in its rural areas from remote antiquity"[http://en.wikipedia.org/wiki/Gurusaday_Dutt]

When the brothers are painting in Bombay, many Brahmain women walk in, to see the divine sight of the gods on earth.

The paintings, when they are completed, are first exhibited in Trivandrum, in a large, unprecedented kind of public exhibition. then they travelled to and were shown in Bombay, before reaching Baroda.

Paintings:

Nala Damayanti

Radha and Madhava

Bharata and the Lion Cub

Arjun and Subhadra

Vishvamitra and Menaka

Shantanu and Ganga

Kamsa Maya

Disrobing of Draupadi

Harischandra and Taramati

Keechak and Sairandhari(also titled: Beauty and the Beast)

Sita Swayamvaram

Birth of Krishna

Devaki and Krishna

Shantanu and Satyavati

----------------------

Dada buys still camera from scholarship. At Nasik, when the boatmen strike, wrestlers agree to play the ferry. Taking their shoes off and crossing the bridge over the sacred river.

तेलांग

मित्र सुना है तुम फोटोग्राफी करने लगे हो, फिर कामेरा कहाँ है?

कुछ आतंक कारी बंदरों ने लूट लिया.

कौन थे, कितने थे, कुछ ग्यात हुआ?

अन्वेषण जारी है

शायद मैं तुम्हारे अन्वेषण मैं सिद्ध रहूं. काम आऊँ. किंतु जिस युग में चित्र गतीमाया हों, तब तुम मुझे याद करोगे.

अर्थात?

फोटोग्राफी क्या है?

फोटोग्राफी . the formation of an image on a flat surface by an optical device and alchemical method of sensitizing that surface to a light source so the image can be captured permanently.

इस ही बात पर तुम्हें अपने मित्रों से मिलाता हूँ.

'मित्र, यह मेरे वानर सखा हैं. तुम्हारे जाने के बाद केवल यही मित्र थे. क ई वर्षों से तुम्हारी मित्रता की चर्चा करता आया हूँ. किंतु मिलाने के पहले तुम्हें आश्चर्या में डालने की इच्छा थी.

Monkeys are ready with the camera, moving around Hanumanji. Phalke sits with them posing. Telang takes the picture.

------------------
He saw those magnificent pictures which were becoming talk of the town- an Indian who could paint just as well as the white man, with all the white man's rules already in place. With no formal art education. It was incredible.
Dhundhi was mesmerised by ( name one painting)

And the milk skinned Maharashtrian girl who was all of them, she was Sita, she was Damayanti, she was..Kamala?
Kamala wanted to know more about her. Where did she live? How could he paint a- bad woman. How could he even think of having a relationship with her?
Govind looked at her affectionately and tried to explain what it meant to have a muse. What it meant to make art.
Kamala was angry with how much Govind had observed of the quality of that cheap girls' skin.

-----------------

Pink nailpolish chemical

That afternoon, Phulla saw the divine Urvashi climb up the temple stairs.

Phulla's veranda, where she sat stringing flowers to make little ornaments for the hair, was situated one third up the length of the stairs, which flowed up like a broad river that thinned in its upper reaches. That morning,the most beautiful fish was making her way up them, gracefully swinging her fin.
She was young, probably 12 or so. Dark kohl lined her jewel like eyes and shone on a skin whose radiance would pull the onlooker towards it, and then intimidate him from touching it. Her long lashes swept the stairs as she walked. Soft pebbles of mogra caressed the back of her neck. Her forhead was dusted by a lightly blown patch of vermillion.

When those langorous eyes swept past Phulla, in an instant forgetting her presence, perhaps never noticing it even, Phulla was stung to the quick. She turned her head away from the apparition and looked at the fish-mother instead. The mother's face was craggy, as though the daughter's skin had absorbed all its moisture. If 'Urvashi's' hands were soft and limp, her mothers' had the restlessness of an engineer. In making this perfect picture that stood next to her, the mother had become a dull outline. Her presence was about an absence, her face showed a fear of want.
But her hand was clasped in 'Urvashis''. She wanted the gift of flight from her.

[[Image:Raja ravivarma painting 73 menaka sakunthala.jpg]]

As Phulla's eyeballs swam, over the mother's hands, along the daughter's, to that beautiful face, again..a sky rose over the earth inside her, like a minaret over a tower. A thorny green bush caught fire inside, and Phulla was singed. Her plump fingers continued to pick white flowers and nothing stirred in her eyes. The girl walked right past her. Still dazed in the trap of fragrance of her flowers and her hair oil, Phulla turned to her own courtyard.
Her mother was stoking a fire, very slowly, as if she wanted to be sure that she did not break the sleep that she had gathered to her like a comfortable blanket from the day Phulla took over her work at the stall. This is how it's always been with the mothers of the flower girls at this temple.
--------------------

The wave having passed, the stairs were stone again. A cat with an absolutely upright tail was slowly taking measure of the courtyard. It felt like the evening had emptied the yard of any signs of life. A hollowed cat, a hollowed mother, a hollow yard, over all of which, the evening had settled in a shroud of small particles. The hollowed out legs of Phulla hurt as she carried utensils to the river for a wash.

--------------

The mats were empty. But the katha vachak had started his story in the light of the lamp. Phulla sat on the empty mat with the hope that maybe, by some chance, the story that was told today, would somehow belong to her. Her palm was clutching the packet of vermillion she had bought from Azgar's shop.

But the old man told the story of the big devout bird whose wing got cut off by Ravana impatiently carrying Ram's wife away. Ram was tender with the bird with the broken wing. Phulla breathed impatiently. A virtuous life rewarded with a stray kindness at its very end, no, this is not what she wanted to hear. And an old man who looked like a gaunt bird himself in the light of the lamps. She looked away, this way and that, and then, gritting her teeth against the story that was softening the old storyteller's face, making him maudlin, she began to draw a large red eye in the vermillion she was carrying.

Govind was resting on his arms on one of the empty mats and looking up at the sky, where dull clouds were walking over a stunted moon. Govind shut his eyes and found images falling behind them like coins into a money box. Like broken paintings they fell- the horse at Baroda.. Sir Griffith standing in a corridor.. Just today, in their courtyard, his mother had extended a baby towards him, as though she was saying "Yours". Kamala was standing in the depths behind Ma's large shoulder. Govind's fingers went over the edge of the durrie and sank in the sand, stroking it, imagining Kamala..His eyes opened. Baba's face was so white in the light of the lamp.

The boatmen of Nasik were on strike again. So Govind had also sat on a pahalwan's shoulder to cross the river. It irritated him. Had he not been carrying all that luggage, he would have swum across. Mid river, Chandu Kaka passed by, letting out sharp giggles from where he sat on the shoulders of one of the pahalwans of the Udaseen Akhara. Ahead of him a woman passenger had completey covered her face with her saree, so that no one recognised her in this shameful posture. Govind kept staring her way- who was she?
He had an urge to kick at the sides of his mount, like he would at the horse in Baroda, and yell 'giddy up'!

Was that Kaki after all?
Even after getting off, Govind waited a full 20 mintues at the ghat, in the hope that if he figured who the woman was travelling with, he would be able to identify her, and he could narrate this story to Kamala at night.
Would Kamala laugh?

The fat girl in front of him was going on shaking something in a small pouch. She looked working class, like she'd taken advantage of the situation and made herself comfortable on the empty mats. All her attention was directed at the pouch in her lap.
Truth be told, even Govind was impatient with Baba's telling. His voice was not able to travel the distance of the mats. Had Baba's voice been diminished by this open shore? Govind felt like putting up a Ravi Verma painting on the ghat instead- and how the crowds would clamour then. He kept staring at his father.
------------

After washing the dishes, Phulla had broken the water into pieces as she swam to the temple in the middle. She had stayed there, silently, like a fat fish in the water, mourning as she looked at the moon. She had realised that she was trapped in her mother's very ordinary dream. Aeons away from that dreamt up Urvashi.

---------
When Govind hid his face in the black cloth and tried to find his Baba in the mirrors of his camera, he found an empty chair- Baba had left its imprisonment.
It was the next morning. Govind was trying to forget what he had thought of the Katha the previous night. He had put the camera between his father and himself. He wanted to capture an image of his father that he could then love in a simple way.
But Baba refused this imprisonment. As did Kamala. His hand lightly holding the leg of the camera stand, Govind realised that this small temple town was not the place to keep his machine. He would have to go elsewhere to work it.

---------------

[[Image:1890 HollerithArticle.jpg]]

-------------
From the 1890's, a period that coincided with the "explosion" of postcards in the West, the artist Dhurandhar designed postcards for a local manufacturer, the first Indian to do so.
Ethnographic postcards became a popular way for the British to write back home.
Dhurnadhar's "Ayah" was widely pirated.
-------------

The Laxmi Vilas palace is completed and inaugrated. The queen in whose name and for whom it was made, is long dead.
Eclecticism is a primary note of the design.
The decorations designed to display skills rather than to achieve a unity of diverse elements, project the unique features of each craft. The devices and motifs, illusionistic or otherwise, and forms which may be organic or geometric, plain or ornate, are assembled with an intent to interject into each other and are curiously held together in what appears to be a heterogenous whole. Perhaps the matching compatibilities of skills and designs neutralise their angularities to form an eclectic togetherness. The mixture of multiple modes, methods and materials, for all its seeming arbitariness, serves the purpose for which the Darbar Hall was designed: to serve as a backdrop, a setting familiar enough for any gathering- a coronation or the daily court, a formal meeting, or a concert or dance soiree; as such it was not to obtrude upon the eyes of the audience with any awe inspiring opulence. In essence it was intended to provide each performance with a choice of trajectories from the multifarious spaces and emblems on its walls.

.. The complex polemic of motifs interwoven in its design is full of meanings other than its architectural ones.. perhaps it broadly suggests a blueprint for a broad polity.
G M S

------
note: the rivalry between photographic drawings and the use of images. how the 'feeling' for photographs comes only gradually.
ab
----------
Zunzarrao by G.B. Deval, adaptation of Othello, proved to be very very popular.

1890

2013-02-18T11:28:49Z

KaranWorah:

young gohar jaan [http://www.the-south-asian.com/Oct2003/images/gauhar3-c%201890%20-%20young%20gauhar.jpg]

[[Image:Gauhar8.jpg]]
[[Image:Morning glory.jpg]]

[[Image:Early flight 1880-90.jpg]]

Gurusaday Dutt
"the living traditions of the distinctive arts of each province existed in an almost unbroken current in its rural areas from remote antiquity"[http://en.wikipedia.org/wiki/Gurusaday_Dutt]

When the brothers are painting in Bombay, many Brahmain women walk in, to see the divine sight of the gods on earth.

The paintings, when they are completed, are first exhibited in Trivandrum, in a large, unprecedented kind of public exhibition. then they travelled to and were shown in Bombay, before reaching Baroda.

Paintings:

Nala Damayanti

Radha and Madhava

Bharata and the Lion Cub

Arjun and Subhadra

Vishvamitra and Menaka

Shantanu and Ganga

Kamsa Maya

Disrobing of Draupadi

Harischandra and Taramati

Keechak and Sairandhari(also titled: Beauty and the Beast)

Sita Swayamvaram

Birth of Krishna

Devaki and Krishna

Shantanu and Satyavati

----------------------

Dada buys still camera from scholarship. At Nasik, when the boatmen strike, wrestlers agree to play the ferry. Taking their shoes off and crossing the bridge over the sacred river.

तेलांग

मित्र सुना है तुम फोटोग्राफी करने लगे हो, फिर कामेरा कहाँ है?

कुछ आतंक कारी बंदरों ने लूट लिया.

कौन थे, कितने थे, कुछ ग्यात हुआ?

अन्वेषण जारी है

शायद मैं तुम्हारे अन्वेषण मैं सिद्ध रहूं. काम आऊँ. किंतु जिस युग में चित्र गतीमाया हों, तब तुम मुझे याद करोगे.

अर्थात?

फोटोग्राफी क्या है?

फोटोग्राफी

इस ही बात पर तुम्हें अपने मित्रों से मिलाता हूँ.

'मित्र, यह मेरे वानर सखा हैं. तुम्हारे जाने के बाद केवल यही मित्र थे. क ई वर्षों से तुम्हारी मित्रता की चर्चा करता आया हूँ. किंतु मिलाने के पहले तुम्हें आश्चर्या में डालने की इच्छा थी.

------------------
He saw those magnificent pictures which were becoming talk of the town- an Indian who could paint just as well as the white man, with all the white man's rules already in place. With no formal art education. It was incredible.
Dhundhi was mesmerised by ( name one painting)

And the milk skinned Maharashtrian girl who was all of them, she was Sita, she was Damayanti, she was..Kamala?
Kamala wanted to know more about her. Where did she live? How could he paint a- bad woman. How could he even think of having a relationship with her?
Govind looked at her affectionately and tried to explain what it meant to have a muse. What it meant to make art.
Kamala was angry with how much Govind had observed of the quality of that cheap girls' skin.

-----------------

Pink nailpolish chemical

That afternoon, Phulla saw the divine Urvashi climb up the temple stairs.

Phulla's veranda, where she sat stringing flowers to make little ornaments for the hair, was situated one third up the length of the stairs, which flowed up like a broad river that thinned in its upper reaches. That morning,the most beautiful fish was making her way up them, gracefully swinging her fin.
She was young, probably 12 or so. Dark kohl lined her jewel like eyes and shone on a skin whose radiance would pull the onlooker towards it, and then intimidate him from touching it. Her long lashes swept the stairs as she walked. Soft pebbles of mogra caressed the back of her neck. Her forhead was dusted by a lightly blown patch of vermillion.

When those langorous eyes swept past Phulla, in an instant forgetting her presence, perhaps never noticing it even, Phulla was stung to the quick. She turned her head away from the apparition and looked at the fish-mother instead. The mother's face was craggy, as though the daughter's skin had absorbed all its moisture. If 'Urvashi's' hands were soft and limp, her mothers' had the restlessness of an engineer. In making this perfect picture that stood next to her, the mother had become a dull outline. Her presence was about an absence, her face showed a fear of want.
But her hand was clasped in 'Urvashis''. She wanted the gift of flight from her.

[[Image:Raja ravivarma painting 73 menaka sakunthala.jpg]]

As Phulla's eyeballs swam, over the mother's hands, along the daughter's, to that beautiful face, again..a sky rose over the earth inside her, like a minaret over a tower. A thorny green bush caught fire inside, and Phulla was singed. Her plump fingers continued to pick white flowers and nothing stirred in her eyes. The girl walked right past her. Still dazed in the trap of fragrance of her flowers and her hair oil, Phulla turned to her own courtyard.
Her mother was stoking a fire, very slowly, as if she wanted to be sure that she did not break the sleep that she had gathered to her like a comfortable blanket from the day Phulla took over her work at the stall. This is how it's always been with the mothers of the flower girls at this temple.
--------------------

The wave having passed, the stairs were stone again. A cat with an absolutely upright tail was slowly taking measure of the courtyard. It felt like the evening had emptied the yard of any signs of life. A hollowed cat, a hollowed mother, a hollow yard, over all of which, the evening had settled in a shroud of small particles. The hollowed out legs of Phulla hurt as she carried utensils to the river for a wash.

--------------

The mats were empty. But the katha vachak had started his story in the light of the lamp. Phulla sat on the empty mat with the hope that maybe, by some chance, the story that was told today, would somehow belong to her. Her palm was clutching the packet of vermillion she had bought from Azgar's shop.

But the old man told the story of the big devout bird whose wing got cut off by Ravana impatiently carrying Ram's wife away. Ram was tender with the bird with the broken wing. Phulla breathed impatiently. A virtuous life rewarded with a stray kindness at its very end, no, this is not what she wanted to hear. And an old man who looked like a gaunt bird himself in the light of the lamps. She looked away, this way and that, and then, gritting her teeth against the story that was softening the old storyteller's face, making him maudlin, she began to draw a large red eye in the vermillion she was carrying.

Govind was resting on his arms on one of the empty mats and looking up at the sky, where dull clouds were walking over a stunted moon. Govind shut his eyes and found images falling behind them like coins into a money box. Like broken paintings they fell- the horse at Baroda.. Sir Griffith standing in a corridor.. Just today, in their courtyard, his mother had extended a baby towards him, as though she was saying "Yours". Kamala was standing in the depths behind Ma's large shoulder. Govind's fingers went over the edge of the durrie and sank in the sand, stroking it, imagining Kamala..His eyes opened. Baba's face was so white in the light of the lamp.

The boatmen of Nasik were on strike again. So Govind had also sat on a pahalwan's shoulder to cross the river. It irritated him. Had he not been carrying all that luggage, he would have swum across. Mid river, Chandu Kaka passed by, letting out sharp giggles from where he sat on the shoulders of one of the pahalwans of the Udaseen Akhara. Ahead of him a woman passenger had completey covered her face with her saree, so that no one recognised her in this shameful posture. Govind kept staring her way- who was she?
He had an urge to kick at the sides of his mount, like he would at the horse in Baroda, and yell 'giddy up'!

Was that Kaki after all?
Even after getting off, Govind waited a full 20 mintues at the ghat, in the hope that if he figured who the woman was travelling with, he would be able to identify her, and he could narrate this story to Kamala at night.
Would Kamala laugh?

The fat girl in front of him was going on shaking something in a small pouch. She looked working class, like she'd taken advantage of the situation and made herself comfortable on the empty mats. All her attention was directed at the pouch in her lap.
Truth be told, even Govind was impatient with Baba's telling. His voice was not able to travel the distance of the mats. Had Baba's voice been diminished by this open shore? Govind felt like putting up a Ravi Verma painting on the ghat instead- and how the crowds would clamour then. He kept staring at his father.
------------

After washing the dishes, Phulla had broken the water into pieces as she swam to the temple in the middle. She had stayed there, silently, like a fat fish in the water, mourning as she looked at the moon. She had realised that she was trapped in her mother's very ordinary dream. Aeons away from that dreamt up Urvashi.

---------
When Govind hid his face in the black cloth and tried to find his Baba in the mirrors of his camera, he found an empty chair- Baba had left its imprisonment.
It was the next morning. Govind was trying to forget what he had thought of the Katha the previous night. He had put the camera between his father and himself. He wanted to capture an image of his father that he could then love in a simple way.
But Baba refused this imprisonment. As did Kamala. His hand lightly holding the leg of the camera stand, Govind realised that this small temple town was not the place to keep his machine. He would have to go elsewhere to work it.

---------------

[[Image:1890 HollerithArticle.jpg]]

-------------
From the 1890's, a period that coincided with the "explosion" of postcards in the West, the artist Dhurandhar designed postcards for a local manufacturer, the first Indian to do so.
Ethnographic postcards became a popular way for the British to write back home.
Dhurnadhar's "Ayah" was widely pirated.
-------------

The Laxmi Vilas palace is completed and inaugrated. The queen in whose name and for whom it was made, is long dead.
Eclecticism is a primary note of the design.
The decorations designed to display skills rather than to achieve a unity of diverse elements, project the unique features of each craft. The devices and motifs, illusionistic or otherwise, and forms which may be organic or geometric, plain or ornate, are assembled with an intent to interject into each other and are curiously held together in what appears to be a heterogenous whole. Perhaps the matching compatibilities of skills and designs neutralise their angularities to form an eclectic togetherness. The mixture of multiple modes, methods and materials, for all its seeming arbitariness, serves the purpose for which the Darbar Hall was designed: to serve as a backdrop, a setting familiar enough for any gathering- a coronation or the daily court, a formal meeting, or a concert or dance soiree; as such it was not to obtrude upon the eyes of the audience with any awe inspiring opulence. In essence it was intended to provide each performance with a choice of trajectories from the multifarious spaces and emblems on its walls.

.. The complex polemic of motifs interwoven in its design is full of meanings other than its architectural ones.. perhaps it broadly suggests a blueprint for a broad polity.
G M S

------
note: the rivalry between photographic drawings and the use of images. how the 'feeling' for photographs comes only gradually.
ab
----------
Zunzarrao by G.B. Deval, adaptation of Othello, proved to be very very popular.

1880

2013-02-18T11:13:46Z

KaranWorah:

Lord Rippon- Viceroy of India

“I remember watching Parsi Gujarati plays in Bombay Theatre when I was a child,” says 74-year- old Pervez Dara Mehta, an old hand. He recounts that Parsi theatre groups dominated the Bombay theatre scene between the late 18 and early 1900s. “Some plays would begin at 10 pm and go on till two in the morning – with upto six ‘oncores’.” He tells us of a popular Parsi theatre genre called “seria-comic”, which encapsulated extremes of tragedy (seriousness), comedy and the in-between in a four-hour production.
[http://rishimajumder.wordpress.com/category/kamathipura/]

[http://www.india-seminar.com/2008/588/588_shanta_gokhale.htm] mapping marathi theatre shanta gokhale

"Foreign forms of ornament are being constantly introduced into the country; and so rapidly are they spreading, that there is a real fear that they may at last irrevocably witiate the native tradition of the ecorative arts of India"
G.C.M.Birdwood[http://en.wikipedia.org/wiki/George_Christopher_Molesworth_Birdwood]
-----------------
Phalke writing in the studio.

Dada:

Today, in the debris of our unfulfilled days, weighed down with the cares of this profession which is proving to be treacherous, no, I should not say that, rather, that it is dependent of investors who are too anxious to make money and have no regard for anything like detail and perfection .. Dealing with those buffets dealt by these businessmen with no vision- In the middle of all this insanity, I participated in a small home production with my wife and children- an enactment of Shakuntala. Sarasvati played Shakuntala and I could see how happy the children were with that decision, to see their homely mother as a comely maiden, but when the time came to cast me, both Prabhakar and Babaraya wanted me to play Durvasa, while they played the king of Hastinapur.

I suppose it is only right. After all, she is a child before my ageing self, this mother of my children, who has had to grow up before her time to look after my needs, perhaps I can only play a Durvasa to her Shakuntala.
I added a beard to my face to give the whole thing some more authenticity, to teach them that which I believe in and which is all I have to give them- namely, a respect for detail, an industriousness and the pursuit of perfection. The boys were merry to see me, undoubtedly a villain in their daily lives, looking like this strange mendicant with bowl in my hand, but I noticed my daughter, usually so forthcoming around me, shied away in shock and Neelkanth, who hovers about Sarasvati like her shadow, started crying.

Sarasvati surprised me (smiles) with her spirited acting. She comes to life in the presence of her children, never so much before me. She sat on the doorway of our inner room, like a sad Shakuntala and fondled Neelkanth's head, as though he was Shakuntala's fawn, in her lap.

The fawn starts upon seeing Durvasa, but [[Shakuntala]] pays no heed. Durvasa calls out, once, twice, and then loses his temper. A song starts an exchange between Durvasa and Shakuntala.

(Meanwhile, the studio is flying through pasages of time which is unrolling in painted backdrops at the windows. Green forest, clinging vine, a distant brook, a tamarind tree with small, shy leaves )

Phalke, writing:

Those years, of the early 80's, Kirloskar's Natak company had taken the world by storm. I was too young to be taken to see anything, but I was rapt with the theatre of the Mahanagar, the city of Bombay itself.
I was told stories of the theatre though, of Annasaheb's performance. People who had not been to the show, and most of our family and neighbours had not- felt that they could talk about it, so full of pride and wonder did accounts of the event make everyone! Marathi theatre had come into its own, everyone said, had learnt from Parsee and British theatre to tell our own particular stories with our songs, our kind of acting.
[[Kirloskar]] conquered Bombay like that city was conquering me.

Of course the critics complained, of how he was reducing the songs, making the men sing like high pitched women, killing all sense of the sacredness of the music.
But his music was like electricity, it ran through audiences and carried them away with it. When they returned home, they could not stop singing.

He was a smart man, Annasaheb, he made short singable songs, he gave everyone the illusion that they could sing.
He had learnt the lessons of Nal.

( The studio somersaults and swings from side to side, like it fancies itself to be a trapeze artist. And flashing across the windows of the sumersaulting studio, are the kaleidescopic images of the city- Gothic architecture, a gas air balloon with Tukaram in it, a photograph of a native policeman nervously facing the camera. Then in a momentary silence and a darkness that falls over the windows, a large sun rises- it is a clock that is slowly being hoisted on intricate machinery. It radiates an imperial light as it goes, like Melies' sun. The studio steadies, the sun is hoisted, its 16 bells begin to chime Handel's Auld Lang Syne.

[[Image:Kirloskarnatak 14869.jpg]] [[Image:Bombay Policeman.jpg]]

--------------------------------------------------------------

There is a new King in Travancore, he tries to encourage Ravi Varma, suggests that he paints ''Sita Bhoomipravesam''.
At the same time, the eagerness of the visiting Governor of Madras to meet Ravi Varma makes the king, Vishakam Thirunal, jealous.
Dewan T. Madhav Rao visited Travancore.

Ravi Varma's brother Raja Varma joins him his works sometime in the 1880's. He keeps a diary of their travels and experiences.
They elaborated for themselves the European method of touching and re touching paintings till they reached some kind of satisfactory perfection.

Governor of Madras: your Highness, I am so very eager to meet the famous painter Ravi Varma

His Highness: Indeed, surely, we shall summon him

Governor of Madras: I am a devoted fan, he even painted an amazing likeness of me last year, my wife has been known to talk to it ha ha ha- of course he must have done many such portraits of you

His Highness: Indeed surely, he has done many such portraits

Governor of Madras: He is a rare treasure, a talent of distinction, a star in the crown of her Majesty.. and your crown of course.

His Highness: Yes, my crown, of course.

Governor of Madras: If one did not know with absolute certainity and I know it now of course, I would never have believed that this is the work of an Indian. It can compete with some fine specimens of Europe you know

His Highness: Yes, fine specimen of Europe.

Ravi Varma has entered and is standing a small distance behind, listening, looking crestfallen.
As soon as he sees Ravi Varma, the Englishman leaps to his feet.

As soon as he sees the Englishman leap to his feet, His Highness stands up in deference to the Englishman.

Ravi Varma continues to stand in deference to both.

His Highness cannot sit down till the Englishman sits down. The Englishman keeps standing, in continuing politeness to the painter. His Highness begins to look unhappy.

Governor, Englishman: Ah there he is!! The prince of painters, indeed a king among painters
and can there be a better royalty than that? Ah there you are, prince among painters

His Highness considers the words: Prince..

Ravi Varma is shaking his head and unable to speak.

Englishman, Governor, subject of Ravi Varma's painting the previous year: Ahhh sit down Ravi Varma

The king does not look at Ravi Varma

Ravi Varma does not look at the king

Neither sits down

Nor does the Englishman.

We see now that the court has been at attention, men in dignified dresses, standing up all along.

The Governor has begun to look restless, he starts rubbing his English boots against one another, as though fully concentrating on removing the dust.

Everyone is standing still. Ravi Varma bows low and leaves the gathered assembly. No one moves. He walks among the men who stand like they are also pillars in the hall, and into the silence outside, of empty corridors, and then, the road. His face reflects the tension of the breach of protocol.

He walks thus, on and on, and faces the sea of Bombay. He sees a passing buggy, gets into it, and gives him the address of his studio.
-----------
Ravi Varma takes class in JJ

धूंढीराज ढेर सारे विद्यार्थियों के बीच खड़ा है, पेंटिंग पर लेक्चर सुनते.

कारण एक है, जल रंग जब काग़ज़ पर अवतरित होता है, तो उसके तेज प्रचार को ठीक वक्त रोकने का सामर्थ्य कलाकार में होना चाहिए. तेल रंगो जैसा सुधार वहाँ नहीं किया जेया सकता है.
इसका अर्थ यह है की तेल रंग की अपेक्षा जल रंग अधिक प्रभावशाली होते हैं? बिल्कुल नहीं. उल्टे मैं कहूँगा की जलरंग ठीक हैं, पर उसमें शान्ती नहीं है.
असली शान्ती है, कोयले में. वो अधिक वास्तविक है. पर रंग जलरंग मैं दौड़ धूप रहती है. तेल रंग की गाती धीमी, अधिक कष्टदायी होती है.

Phalke draws on two points on paper:

There is a king in Baroda, a princess in Tanjore, they are married

(he makes a line)

In the process of going from here to here

( his line indicates)

Laxmibai is made into Chimnabai.

Sarasvatibai:

The young Chimna speaks neither Marathi nor Gujrati, but her eyes are round like circles, deep as the pond outside our Nasik studio.And she dances.

The single travelling dot is trailed by other dots. The series of dots sway, take shapes, of exhaust fumes, of a funnel, of a bird that takes to the sky:

Two young dancers, Gaura, and Sarada, have come with her to Baroda. Two nattuvanars and two teachers, Vadivelu and Sabhapati, complete the procession.

A room deep in the palace becomes a pretty rattle, the sounds of footwork and anklets become familiar..

One warm, lazy afternoon, Sayaji sits before a performance that is staged only for him. Three women dance for him. The nattuvanars keep step with cymbals, and sing, looking steadily at the dancer. The strange sounds that leap like off their lips like pebbles, seem to get caught in the open mouths of the anklets, the dancer plays with them, letting her feet become like butterflies on the ground.
Saya will wonder in later years whether that afternoon was really a dream. He will wonder at a time when it will really become a dream, when to deal with loss he will try and concentrate on remembered moments. Liquid eyes that he had some claim to, were all she seemed made of that day. Eye widening impossibly as they implored, He had felt uneasy, she looked, almost- alien , in a a dazzle of silk and gold and flowers, crowned by those eyes responding to every cadence of a language unknown to him. Behind her, the vigorously undulating forms of the two dancers, their eyes more quiet and deferential.

----------------
[[Backdrops across painting and theatre]]

Jamsetji's notes.

Backdrops opened new worlds that could change rapidly within the space of a show. Huge paintings- 14 or 18 feet high and 26- 28 feet wide, could make any world come alive.

[[Image:Painted backdrop.jpg]] [[Image:Backdrop 3.jpg]][[Image:Backdrop 4.jpg]]

[[Image:Swan.jpeg]]

A lonely street where lovers meet under a smouldering afternoon sun

Factories belch smoke the colour of a deep evening sky, the back of a train in the distance, leaving its own trail of smoke, an Parsee gentleman races on his humpbacked tricycle, the wheels have painted clocks on them. Time and speed are money his painted image seems to say.

Unknown to him, his daughter steals out- there she is behind a pillar, no, she is under the shade of the lone tree in the city, meeting her down-on-luck lover.

[[Image: Tram lines .JPG]]

[http://images.google.co.in/imgres?imgurl=http://www.hindu.com/fr/2008/01/18/images/2008011850140304.jpg&imgrefurl=http://www.hindu.com/fr/2008/01/18/stories/2008011850140300.htm&usg=__D8L_hBk-o-4pvgR2KFzPCYQWdwU=&h=129&w=227&sz=16&hl=en&start=1&tbnid=16aqwlGFA7cuVM:&tbnh=61&tbnw=108&prev=/images%3Fq%3Dindia%2B19th%2Bcentury%2Btheatre%2Bpainted%2Bbackdrops%26gbv%3D2%26hl%3Den%26sa%3DG]

painted backdrops, 19th and early 20th century theatre in India

-----------

== Look what I did with the Circle ==

The first [[Big Top]] was brought to India in 1880 by an Englishman Willaim Chirney, who offered 500 gold coins to any Indian who could hassle a horse the way he did. The Raja of Kurdwad's stable hand, Vishnupant Chhatre, took up the challenge, and thus was born Chhatre's Circus, the precusor of other "Indian" circuses: Deval, Parashuram, Lion, Karlekar, Shellar, Rayman, Malabar and Whiteways..

[[Image:Women-circus-performers.jpg]]

The roof of the circus tent was the sky of the world that you entered. Here anything could and must happen. An ill dressed magician had sold you a ticket at the gate. Limbs turned to jelly inside shimmering costumes, big animals danced and performed for the little ones, clowns were cursed with large boils on their noses
for always telling lies. Men fell down like bears and laughed, their paws in the air.
Bears wore frilly skirts and over them,bright blouses held together with strings.

[[Image:The big top.jpg]]

------------
[[Marey]]

-----------------
[http://www.mardecortesbaja.com/blog/_archives/2008/9/23/3896374.html]
--------------
[http://www.era.eu.org/04/history_s2.html] [[photogruave]] a committed artistic process of printing
[http://www.codex99.com/photography/113.html]

His father

2013-02-18T10:51:03Z

KaranWorah:

carrying the legacy of being one of the [[Kashyap Konkanast Brahmans]].. a warrior who became a brahmanFATHER IN THE CLASS ROOM

सब जात गोल की.. हिंदू शस्त्र पंसारी की दुकान.

चमार कुछ बनना है तो उसको भी बना दीजिएगा?

क्या बनना चाहे?

ब्राह्मण

चमार ब्राह्मण है इस में क्या संदेह है? चमार में तीन अक्षर हैं. च- चारों वेद, , र, रामायण, म- महाभारत. जो इन तीनों को पढ़ाए वो चमार. इन चर्मकारों ने बहुत बढ़ा यग्य किया था. उस ही से चरम वती नदी निकली थी.

लाओ निकालो दक्षिणा.

और डोम?

डोम तो ब्राह्मण क्षत्रिया दोनों कुल के हैं. विश्वामित्रा वशिष्ट वंश के ब्राह्मण डोम हैं, हरीशचंद्र क्षत्रिया वंश के.

और कृपा निगना मुसलमान?

मियाँ तो चारों वंश में हैं, वाल्मीकि रामायण में लिखा है जो वर्न रामायण पड़े, मियाँ हो जाए. द्वारका में दो भांती के ब्राह्मण थे, जो बलदेवजी मानते थे,
मुश्ली , मुश्लीमनया कहलाए, और जो कृष्ण को मानते थे, कृष्णमानया हुवे.

और धोबी?

अच्छे ख़ासे ब्राह्मण जयदेव के ज़माने में ब्राह्मण होते थे. धोई कवी संपत्ति

और नीच को ऊँच?

ऊँच नीच क्या है, आप दक्षिणा देते जाइए. नाग पकड़ने से नगर और गुल जलाने से गुजराती.

His father

2013-02-18T10:50:08Z

KaranWorah:

carrying the legacy of being one of the [[Kashyap Konkanast Brahmans]].. a warrior who became a brahmanFATHER IN THE CLASS ROOM

सब जात गोल की.. हिंदू शस्त्र पंसारी की दुकान.
चमार कुछ बनना है तो उसको भी बना दीजिएगा?
क्या बनना चाहे?
ब्राह्मण
चमार ब्राह्मण है इस में क्या संदेह है? चमार में तीन अक्षर हैं. च- चारों वेद, , र, रामायण, म- महाभारत. जो इन तीनों को पढ़ाए वो चमार. इन चर्मकारों ने बहुत बढ़ा यग्य किया था. उस ही से चरम वती नदी निकली थी.
लाओ निकालो दक्षिणा.
और डोम?
डोम तो ब्राह्मण क्षत्रिया दोनों कुल के हैं. विश्वामित्रा वशिष्ट वंश के ब्राह्मण डोम हैं, हरीशचंद्र क्षत्रिया वंश के.
और कृपा निगना मुसलमान?
मियाँ तो चारों वंश में हैं, वाल्मीकि रामायण में लिखा है जो वर्न रामायण पड़े, मियाँ हो जाए. द्वारका में दो भांती के ब्राह्मण थे, जो बलदेवजी मानते थे,
मुश्ली , मुश्लीमनया कहलाए, और जो कृष्ण को मानते थे, कृष्णमानया हुवे.

और धोबी?
अच्छे ख़ासे ब्राह्मण जयदेव के ज़माने में ब्राह्मण होते थे. धोई कवी संपत्ति
और नीच को ऊँच?
ऊँच नीच क्या है, आप दक्षिणा देते जाइए. नाग पकड़ने से नगर और गुल जलाने से गुजराती.

Hindi

2013-02-18T10:43:58Z

KaranWorah:

'''BEES RANIYON KE BIOSCOPE'''

''The Phalke story''

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By Kamal Swaroop

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Tu din bhar isi shila ke aas pass rahega kahin jayega nahi. Kiyon tu raji hai?
Din bhar tujhe aik hi baat sochni hogi.tu apne ghar ke vishay ke bare mein sochega.apne ghar ke sabhi logon ke chehre yaad karega.sage sambhndhi mitre adi ko nahi.un sabka smaran ker apni kalpna mein gharwallon ke saath sambandh sthapit karne ki chesta karna
Theek hai
Kal phir yehin pahunch jana phir baat hogi.

Kya aaj bhi ghar ki yaad aarahi hai?
Aaj ki chinta is prakar hogi.vahan dekh,door mein pahad or aakash ka sangam hua hai
Aakash ki or dhyan se dekh.souch yeh anant hai.such dukh se pare hai.or pahad virat hai kintu seems mein bandha hai.man le tera man aakash hai or man ki chintaye aakash mein vicharte badal.nerve darshak ki tarah dekh or sonch ki yeh badal kahan se aa rahe hain kahan ja rahen hai

The Ramayana and the Mahabharata contains the most inexhaustible stories for pictorial representation which any country possesses, all that is needed to promulgate their beauty and complete their fame in their purer and noble passages and with the power of European art, they should engage the service of the national pencil as they have fastened on the national memory and animated the national voice.

None can have a stronger claim on our attention than education. It is one of our sacred duties to be the means of conferring upon the natives of India, those vast moral and material blessings which flow from the general diffusion of useful knowledge, and which India may, under providence, derive from her connections with England.

Who am I?
A father adding to the thirty crore population of India?
My wife’s husband?
A servant of India who has not paid his dues to his motherland?
A victim to the desires of moneylenders?
A man bereft of worldly wisdom, obsessed by only one aim, and thus ruining his family life?

1 father foretells that he will deal in something white...

father and son are bathing in the river. father recites purush sutra and son repeats. they close there nose and go down in the water. river flowing over their head. when father emerges ,child is out of sight. father anxiously looks around. calls for him.terror.then suddenly son emerges at distanse.father is angry.walks out of water. Son runs after.touch.father pleads for not to touch

jyotirling ka shastriya rahasye kya hai?
-----kyonki jyotirling shabd prakash vachak hai or ling shabd srishti or samhar ka ghotak hai.kyonki ling shabd do dhatuon se banta hai,aik ka chitrikaran or doosre ka gati arth hai
avakt swaroop se vyakt hona arthat vividhakar jagat ka roop mein pragat hona

TRIMBK
Do hatho ne atta goontha.tod ker goll kiya.belan chalaya .phirhatho se utha ker hawa me nachaya.or garamtave per rakha.miti ke chule mein aag bhbhak rahi thi or is wajha se ma ka chehra damak raha tha.swarn kan aise ki suraj ke anne per inkar karati subh ki oss
Ma ne mudker dekha to ghutne ke bal chal ker dundhiraj chalker deewar ke pas mitti khodh ker kha raha tha.

Foren uth khadi hui or bhag ker use god me uthaya.ek ungali mu me dal kermiti baher nikali.do thapped rasida or dham sezamin per patak diya.dhundiraj.cheekh ker rone laga.
Dwarkabai--------ro,pet bhar ker ro.

Dwaraka ko kuch sujja.tezi se uth ker kuch dhoodhne lagi.ek sadi ka fata tukada mila.use do tukado me fada or govind ke hatho me aise bandha jaise ghodhe ke khur.

Kha or miti,tere hath ab aise hi bandhe rhnge.

Bal swarte dwarkabai,eak nazar aasmaan dekha.aakash me iklota badal.
Kuch shano badh jaise jaise palang ka dolana stabhit hua ……badal ka tukda gati mai hua.dhundiraj ki naak ki seedh me aaya. Rodan achanak thama. Palne me aise pada raha jaise ki parlokik ghatna ka mook sakshi.

Uski aankho ki putaliyno me ek kampan hua. Chal ker naak ke paas mili. Tabhi ek vichitra sa saphed saras palne ke paas utar ker baitha. Vah Kisi dhuser saphed dhatuon ke kalpurzon se bana tha.
Idhar ,chule ke angaar ko rakh se dhak ker vh sonch rahi thi ….hawa me chai stabta ne use chnka diya.dhndiraj ka achanak tham kiyo gaya.dil per haath rakh ker wo baher ki or lapki.dundiraj mano samadhi me leen tha.haath aise khule the jaise tukaramji ne kartal pakad rakhi ho.chere per vighankari muskan per mu me koi awaz nahi palana sthir tha.mano akash per us badal ke tukde ne use summohit ker rakha tha.

Yakayak tabhi vatavaran me chai teervata lupt hui.hawa bhane lagi or sath sath us badal ke tukde ko bhi le jane lagi.idher badal hila or udhar palana khud b khud jhoolne laga…… dhundiraj ki samadhi tooti ….vh roya
Dwarkabai-------------he deva,me to dar gai thi….shama ker de.ab kabhi n bandhogi.

Jyotirling ke muhn per dhare sone ke panch mukut mastak ko hatate hi dipako mein lo aye.prakash bahar ki or phalne laga.mandir ke darwaze khulne lage.kai adrishya haath ghntinya bajane lage.
Taza ,saphed puti deewaron se giren aangan mein dhundiraj ke peeche uski hamumre bhan daud rahi thi.dhundiraj manir mein ghusa or chup chap khada hogaya .kuch door kamala apne parivar wallon ke sath khaddi thi.koyale ka tukda dikha ker kaha chal tujhe ghoda bana ker dikhata hoon.
Dono daud ker mandir ke akant mein aaye.bina haath uthaye aik ghoda bana diya.deewar se do kadam peeche hat ker niharne laga.uske peeche khadi kamala visfarit netro se taak rahi thi.phir peeche mudhe to bahan shivram se shikayat ker rahi thi.
BAHAN-------dekho kaka phir se deewar kali ker di.ab mein sahan nahin ker sakti yeh koi phathshala hai.
Dhundi dar ker bola,ab nahi karoonga
Phir achanak laga passa palat gaya,jab kaka bole sunder hai

.

2 father invited to join the college as a Sanskrit teacher.3The family leaves for Bombay.

FATHER IN THE CLASS ROOM

सब जात गोल की.. हिंदू शस्त्र पंसारी की दुकान.

चमार कुछ बनना है तो उसको भी बना दीजिएगा?

क्या बनना चाहे?

ब्राह्मण

चमार ब्राह्मण है इस में क्या संदेह है? चमार में तीन अक्षर हैं. च- चारों वेद, , र, रामायण, म- महाभारत. जो इन तीनों को पढ़ाए वो चमार. इन चर्मकारों ने बहुत बढ़ा यग्य किया था. उस ही से चरम वती नदी निकली थी.

लाओ निकालो दक्षिणा.

और डोम?

डोम तो ब्राह्मण क्षत्रिया दोनों कुल के हैं. विश्वामित्रा वशिष्ट वंश के ब्राह्मण डोम हैं, हरीशचंद्र क्षत्रिया वंश के.

और कृपा निगना मुसलमान?

मियाँ तो चारों वंश में हैं, वाल्मीकि रामायण में लिखा है जो वर्न रामायण पड़े, मियाँ हो जाए. द्वारका में दो भांती के ब्राह्मण थे, जो बलदेवजी मानते थे,
मुश्ली , मुश्लीमनया कहलाए, और जो कृष्ण को मानते थे, कृष्णमानया हुवे.

और धोबी?

अच्छे ख़ासे ब्राह्मण जयदेव के ज़माने में ब्राह्मण होते थे. धोई कवी संपत्ति

और नीच को ऊँच?

ऊँच नीच क्या है, आप दक्षिणा देते जाइए. नाग पकड़ने से नगर और गुल जलाने से गुजराती.

Student-sabe jaat goal ki.hinduon ka shastra pansari ki dukanhai.
Sada shiv-chamar kuch banna hahe to usko bhi kuch bana dijiyega?
--kya banna chahe?
-brahmin.
--chamar Brahmin hai isme kya sandeh hai.chamar me teen aksher hai.ch,charo ved.r, ramayan.m mahabharat.jo in teeno ko padhaye wo chamar.in charmkaron ne ak bar bahut bada yagye kiya tha.usi se charmavati nadi nikli thi .lao nikalo dakshina.
--aur dom?
--dom to Brahmin shatriya dno kul ke hain.vishvamitr vashist vansh ke Brahmin dom hain,harishchander shatrya vansh ke
-aur kripa nidhn musalman?
-miyan to charon vansh me hain,valmiki ramayan me likha hai jo varn ramayan padhe miya ho jaye.dwarika me do bhanti ke Brahmin the,jo baldevji mante the(mushli)mushlimanya kahlaye aur jo shri krishn ko mante the krishnmanya hua.
----aur dhobi
----ache khase Brahmin jai devke zamane me dhobi Brahmin hote the…dhoi kavi shamapati
---aur neech ko oonch
---oonch neech kya hai aap dakshina dete jaiye.nag pakdne se nagar aur gul jalane se gujrati

4After a time, it enters a cave-like Victoria Terminus, almost as though entering a camera obscura, and halts.5Phalke is separated from his family and gets lost. Darkness descends.6He is alone in a deserted Victoria Terminus, bewitched by the carvings of gargoyles, lizards, lions, tigers, flora and fauna, like in a fairyland. Suddenly it starts to rain, and everything comes to life.
Streams of water pour out of the stone mouths of mythical monsters, frothing at the jaws. Phalke is shaken, shivering with cold, crying for his father in the dark.7 JJ School of Arts sits with hammers and knives, carving out figures on the terraces and the tops. The cotton loaders are teasing a Victoria look-alike, a mad woman at the fountain outside.8Picking up leaves as if to build a nest, small birds move above.9A Victoria enters and drags the woman away by the hair.10A mad dog chases Phalke through a backdrop – streets, railway lines, ships and factories.11He enters a palace and finds the princess stretching her arms and calling his name, and then metamorphosing into a frightening old woman.
Victoria12With a jerk, Phalke comes awake. He is fifteen years old.
And he has to run for his examination at the Sir JJ School of Art.
As he sketches the live model, sitting nude, the hands and toes of the drawing keep disappearing.
JJSCHOOL RAV VARMA LECTURES dhundiraj dher sare vidhyarthiyon ke beech khada hai.painting per lecture sunte.
Karan aik hai.jal rang jab kagaj per avatari t

Hota hai to uske tej prsar ko dheek wakt rokne samarthya kalakar mein hona chaiye.tel rangon jaisa sudhar vahan nahin kiya jasakta hai.is ka arth ye hai ki telchitre kee apeksha jalrang adhik prbhaveshali hote hain?bilkul nahin .ulte main kahunga ki jalrang theek hai per usme shanty nahi hai.usli shanty hai kayale mein.vh adhik wastvik hai.per rang jalrang mein daud t
Dhoop rahati hai.tel rang ki gati dheemi,kadhin kashtdae hoti hai.

k

1886 – CLOCK AND CHIMES
13Mr. Griffith, the Principal, and Mr. Tarry, the Vice-Principal, present their annual report on the institute, while discussing their hjfuture prospects after graduation with his friends, Phalke podiscloses his intention to go to Baroda where his brother works with Romesh Chandra Dutt, the eminent scholar from Bengal.14 there is a commotion in his father’s classroom.
Phalke’s father is objecting to the presence of a non-Hindu in his Sanskrit class. Impulsively, he resigns his post and leaves the premises, taking his son with him. He decides to return to Trymbak and resume his old job of kathavachak.15Phalke’s brother from Baroda is at home, paying the family a visit, and Phalke prevails upon him to take him back to Baroda with him.1886 – 90 – THE MASTER
16 Phalke is taken to meet Prof. Gujjar, Principal of Kala Bhuvan, the technical institute under the royal patronage of HH the Gaekwad of Baroda.17Seeing extraordinary talent in Phalke, Prof. Gujjar puts him in charge of Kala Bhuvan’s photography studio where Phalke makes several experiments in photochemical processes.18He spends days and nights at the Sir Sayaji Rao library, reading 19Phalke also comes into contact with Shankar Moro Ranade, a dramatist who is about to perform ‘Winter Tales’ and his own play ‘Veni Samhar’ at the Maharaja’s palace.20To train his voice, Ranade sends Phalke to the Maulabux Musical School for training in music.

21The work of the director of the ‘Veni Samhar’ drama performed by the Baroda College had naturally fallen to my lot.
HEMLET

Rhana hai ya nahin .yehi sawal hai.acha kya hai,zalim takdir ke zamane ki chot,man hi man sahana ya musibato ke samundar ke khilaf hatiyar uthana orlad ker un ka khatma ker dena.mer jata so jata bas.kash ki hum eak neend le ker kha sakte kisone me ab koi dard nahin hai.or n weh hazar chois haad maas ke putle ko.kaisi man chahi pariniti hoti hai yeh mar jana.koun jane yeh chola choot jane per maut kius neend mein kaise kaise sapane aye.unhi ke dar se to hum thithak jate hain,or jhelejate hain jindigi ko.eak kali bala ki tarah.aisa na ho to jamane ki nafarat ko koun sahe or koun sahezalim ka zulm ,gamandi ki shekhi.nakaam mohabat ki kachot,kanoon ki dhilai,hukkam ke tever or nalayako ki thoker.

Mout vah anjan desh hai jiski sarhad se kabhi koi musafir naahin lotata.apane usi dar ki wajah se hum apni taklifo sebhagne ki badle unko jhelte hain.

21I had some interest in magic also.
On a darkened stage, a large blank canvas was illuminated by limelight. As he made passes with his right hand, the canvas gradually and mysteriously gave birth to a brighter and brighter painting, Raja Ravi Verma reproduction.21Dada stands first and is offered a scholarship.22After consulting Prof. Gujjar, he buys his first still camera with the first installment of his scholarship. he is gifted photo gun.

His father takes him to hilltop telling the story of descent of Ganga. He grows up in mist.

23He was nineteen years old.
He was lying on his back on a hill, looking up at the sky.
His camera stood on the tripod to one side.
Suddenly, mist began to creep towards the field.
A cloud of mist enveloped him and hid him from view.
All he could see was white mist.
White blindness, as if he was buried in a cloudbank of mist.
Then a snake slithered through the mist, crawled over his chest and stood above his face with fanned hood.
Rubbing itself against his chest, the snake began to slough off the skin covering its eyes.
Understanding, Govind picked up a cloth on which his head was resting and wiped the snake’s eyes clean.
Having regained its sight, the snake went quietly away.
When the mist cleared, the surrounding hills had turned into the white, snow-covered Himalayan Mountains.
The infinite sun peeped out from behind the infinite mountains.
On all sides the multicolored tree barks of autumn…
Govind was exhilarated by this vision.
This was the source of the Godavari…

1890
Telang or phalke
------mitr suna hai tum photpgraphy kerne lage ho to phir camera kidhar hai?
-------kuch atankari bandaro ne loot liya.
-------kon the kinyo the kuch gyaat hua?
-------anveshan gari hai.
-------shayad me tumare anveshan me sidh rahun.kaam aun.kintu jis yug me chitre gatimai ho tab tum mujhe yaad karoge
-------artharth?
-------photography kya hai?
--------the formation of an image on aflat surface by an optical device and achemical method of sensitizing that surface to a light source so that the image can be captured permanently.
---isi baat per tumeh apne mitro se milata hu

--------mitre ,ye mere vanar sakha hain.tumhare gane ke baad keval yehi mitre the.kai varsho se tumhari mitrata ki charcha karta aaya hnu.kintu milane ke phale tumhe acharya me dalne ki ischa thi .

monkeys were ready with the camera,moving around hanumanji.phalke sits with them,posing.telang takes the picture

24He watches the Prince ride his horses, play cricket, shoot crows, wrestle. He cannot comprehend palace intrigue, and the changes occurring in the state of Baroda.

26When he comes home, there is a surprise waiting for him.
His father has arrived from Nasik, bringing Phalke’s wife, Kamala, with him. Phalke is shy as well as nervous. His father asks about his prospects.27 his wife, She urges him once more to set up a separate home.

1895 – ALCHEMY, GODHRA

28Godhra is a railway junction surrounded by small tribal kingdoms.29Phalke hangs a sign outside his house. ‘Photographer Phalke’ it reads.

Miss malkm
A photograph comes alive.
Tum aagay or mein kitni kush hun.hamari residency ka munshi bdha badmash hai mein chahti hunki tum yeh patre padh ker iska tarkuma kerke sunao mein tumhen inam doongi.mr parkison ne kal sham club mein batlaya ki ap angreji bhi jante hai.

Ji .kisi hadh tak bol samajh to leta hunor ischa bhi haiki aapki is shandar juban ko urdu ,hindi gujrati,marathi ki tarah bol saku

Meri aaya ko mahalo se khat mila hai raja ki kisi begam ka khat.ak kuphiya dastavez .khas residency saheb ka.mein janna chati hun ki ye patre bhejne ke kabil hai?

Mere Calcutta ke ak dost parkison Sanskrit ki purani kitabe kharidne ko bahut utsuk hain umda kitabo prr acha daam bhi milega
Kuch kitabe leker hazir hounga. mein jald hi jald

Agar mujhe ynha paunchne mein der ho jaye to hazoor mujhe maaf keren.mere paas vilayati ghadi nahin hain .is liye aap logon kitarah wakt ka paband nahin ho pata
O!thariye ,ise kholiye
Dhakken khula to vah…..
Ghdi mein nar nari ka apurve rati sakriye joda bana huva tha
----- oh god ,apne to wrong side khol di

1896
dhobitalave per nadkarni ki photo—sports ke samane aik ghoda gadi ruki.gadi per likha tha traveling photographer. Gadi mein se kareeb 24 ,25 saal ka aik navjavan us jamane ki pant, kameez or jaket pahane utra.vh seedha dukan ke bheter gaya.dukandar mano use achi tarha janta pahchanto ho. Uth ker khule dil se usse gale milta hai baithne ko kursi deta hai

nadkarni…….dhundiraj,matapita tyag ,kahan ki pradikshana se aa rahe ho
dhundiraj……ye dekho ajanta ,allora khajuraho.clock tower se Bombay ke drishya,pashu-pakshi,deshi videshi sundriyan,raje maharaje,circus ke kalakar rajadeendayalapne samne……or ye chadi orye kamuk ghdi

nadkarni ghdi kholta hai aik chitre mein sambhog karti mudra sanggeet per ghoomne lagti hain
dhundiraj…….aik mitra mahila ki bhent.acha ye batao ,tumhe yaad hai aik panditji ko sona banane ki sanak thi,or unke pas pustakon ka bhandar tha.hai kya?
-----------kyon nahi. Ve yhin se rasayan le jate hain.yehrahi tumhari udtichidyiyan ke per gin sakne valli bandook,kisi bhi udan ko kaid ker sakti hai.ghoda apneadrishya pero ko……
shukriya mujhe vo kitaben chahiye.aik mahila hain London ke vidhvan premi ko khush karna chati hai
………..brahmn ho ker vishvasghat ker rahe ho?

----------mitre,gyan ke bhandar ko deemek chat ker jaye,us se acha hai ye gore kuch padh likh len
……….tum brisht ho rahe ho matre.apne pita ki tarha nahin jinone dev ki pavitrta ki khtir apna path tyag diya

30 meets alchemist
ghoda gadi aik chandni rat mein nhaye sphed mandiron kee galiyon se guzer rahi thi
aaker aik khandernuma char manzila imarat ke samne ruki
dhundiraj ne ghode ko ghass di oar imarat ke andar prevesh kiya.shastriji ko us bool bhulbhulaya mein pukarne laga

tahkhane ke eik andhere kamre mein panditji apne kimiyagiri ke upkarno ki sahayta sesona banane mein vyast the.dhundiraj jaise hi pravesh huye—usi samaye rasaynik kriya mein eak visphot hua.panditki ke much per kalikh puti.oar sphot ke sath hi hare rang ka dhuan teji se kamre me phalne laga.eak chuhe ki akriti ka dhun dhundiraj ne apne nathnu mein bhara.panditji ki surat dekh ker uski hansi chooti.
Panditki----------kahiye kya kaam hai?meine aap ko pahchana nahin.
Dhundiraj-------mein dji shasti ka putra hun,dhundiraj
Dhundiraj ne apne kamarband se khusa hua chota sa bauva nikala,usme se paanch rupaye nikal ker panditji ke charnon mein rakhe
-----------kya matlab hai?
-----------aapse kuch jaroori batten karni thi.
----------ye apne rupye uthaye or chalet banye, paanch rupye mein is pandit se seala koi kuch nahin ugalwa sakta hai.
----------ye to dakshina matre hai,apni baat arj karne ke baad sone ki ashrafiyon se sauda karoonga.
----------sone ki ashraffiyan?yani ki mohren?sona to mein khud chahata hoon magar khud ke haato se banaya hua

kimiyan ke upkarno se tarah tarah kerangon ki bhap nikal rahi thi.aik tambe ke bartan mein aml ki boond tapak rahi thi.panditji ne jaanch ker dekha sona nahin bana tha.gusse se bartan uchal ker phenk diya, sona nahin bana tha.haath ponch liye.
----------khre bhaeya aap se baat ker loonga,kya garmi hai
----------meine suna hai ki aap ke pass Sanskrit ki bahut pothiyan hai?
---------ji han hai to sahi ,per ab unhen maine khurake dimkan bana diya hai.kambakht ghar bhar mein phellen,lakdi ke darwaze khokle ker isse acha hai ki in namurad kitabon ko khati rahe.kya garrmi hai.tashreef rakhye.
------------vilayat se aik angrej aaya hai,uske pas aik kitab hai.maine khud apni aankhon se dekha ki usne apni jeb se sheeshi nikali or sirf do boond tambeke bade lote per dal di or phir apne nauker se kaha kiab is lotte ko bell patron se manjh do….manjhte hi mano karishma ho gaya.poora lota sone jaisa chamchma raha tha.phir bole yeh sara sona angrez sarkar mujhsse kharid leti hai
meri croro ki daulat vilayat mein hai.magar mujhe yahan se jane ke liye kames kam pachas sone ki deegre chahiye.to maine kaha jo lota apne abhi banaya use bech dijiye----rupiya mil jayega.vah bole nahin ,rejident babu ne isai mantr ki kasam khila rakhi hai.sona angrej sarkar hi le sakti hai. Mane kaha to angrez sarkar se hi paissa le lijiye……..is per voh gora kahne laga sona yahan bana ker deta hun to ve kalkatte ke bade laatt sahib ko khat likh ker batlate hai,or bade latt sahib vilayet meincompany bahadur ko….tab vh rupiya vhan unko bhej diya jata hai.is bechare ko aik bhi dhela nahin milta kinyoki yeh sharab bahut peeta hai.is liye veh chata ki koi uski kimiyagiri ki kitaabe pachas dinaron mein khareed le..kiyonki nuskha use yaad ho gaya hai
--------aisi kitab to sirf arab zaban mein hogi
--------sahi farmaya.
------ye angrez saltane bhalen loot len magar kya khaker angrezi zaban padenge
-------is gore ka vald English nasle ka hai.or ma arbi nasle ki.isai hote huve bhi apne bete ko kalmapak padaya.mera khayal hai ki yeh kitab bhi use uski walida ne…..
vh kitab apne dekhi hai?
Ankho se pachas dinaron main kitab us sharabi English man se khareed sakte hain.
-------ullu ka patha ho gaya hai jo aisi beshkimti kitab bech raha hai
------chunki nuskha use yaad hai isliye bechne ko taiyar ho gaya hai.
Per pachas du kahan se.haveli bech doonga to rahunga kahan?
--------ye kitabe aap mujhe bech dijiye main pachaas dinaren aap ko nagad doonga.

Panditji ko pasine choote.kuch sonch kerkisi doosre kamre ki taraf janelage.unoneh aik kivad ki sankal kholi,andar andhera tha.jalti tel bati leker ander ghuse ,peecbe dhundiraj or aik chuha.

Lagbhag teen char hazar pustken thi.haath lagate hi panne ret ho rahe the.sunhere rango mein sachitre.dhundiraj ne tel batti apne hatho mein le li.
----------inki kya kimat lenge aap?
----------aji kimat kya……main in saliyom se kutte ka pakhana utha ke n phenku,itni nafrat ho gai hai mujhe….apke devi devtaon se aap ke majab se.mujhe duniya ke tamam majabhon se nafrat hai.bus aik bar sona banaker dekhna chahta hun.
---------to inke liye pachas mohre pesh karu
---------jee nahi,51ya 101.mujhe shudh rakam chahiye.lena ho to leejiye varna dafa ho jaiye.dhundiraj ne ashrafiyan gin ker pesh ki,

dhundiraj ne kitabe bandhi,ghodagadi mein ladhi.

Is bar pandit ji kuch hari jaddi ghot rahe the.
Panditji……..janab aap shikari bhi hain?
---------nahin panditji ye tasveeren lene ki bandook hai.udti chidya ki bhagte ghode ki,narsima ki.
Panditji-------ruko, mujhe lagta hai tum mere kaam asakte ho.mere paas aik jaddi hai,use khane se admi sher mein badal sakta hai.doosri ko khane per manushya mein.main chahta hun jab meri kaya parivartan ho rahi hoto tum is bandook ko baraber tane rakhna.tasveeren utarana.mein bhi dekhun kya savar o jata hai?phi mujhe goli chata dena.main phir se admi ho jaunga.
Dhundiraj------aap mujhe mar ker kha gaye to?
------------beta tumhare paas bandook hai,sher banne ke baad mujhe kaise pata chalega ki ye nakli hai?ye pryog hai vigyan ki kasam.daro mat

panditji ne aik goli khudh kha li oar aik dhundiraj ko thama di

dhundiraj ki bandook ki nok tale sher mein badalne lage.dhundirajj ne banook ka ghoda teen baar dabaya per apna bhya adhik der tak nahin daba paye.bhge.door chandni raat men ghoda gadhi kitabe leker bhag rahi thi.

Idhar dhundiraj ki neend tuti.khidki ke bahar sara alam chand ki dudhiya roshni mein nahaya hua tha.kamala bagal mein so rahi thi.vh utha, seedhiyan chadhi.tale mein chabhi lagai.telbatti ki roshni tej ki ti dekha khidki khuli thi orkitaben gayab thi
Khidki ke bahar sota hua shaher tha,kuch chimniyon ka dhua,or door bhaap ki rail.mula ki azaan.

Dhundiraj daud ker neeche aya
Kamala kamala kitabe chori chali gayi.mein us mem ko kya muh dikhaunga?

Dhundiraj thane gaye.
Kotwal,laldadi walla muslman thaankho mein surma jaise ki babbersher ho
----------humne her padhe likhe admi ki talashi le li hai,per janab aap jin kitabon ka zikre ker rahe hai ve kahin nahin mili.or janab angreji angrezon ki talashi lene ka hak nahin hai.waise apka karobar kya hai.
------------kamere ki tasveere khichna
-----------toba toba
-----------in cheron ko pahchante hain?
----------ji han mere haath ki hain
----------ye bachhe kai dino se ghar se gayab the.apki in tasveeron ki vajah se pahchan liye gaye,inke sar per inam rakha tha aap uske hakdar huve.dhundiraj kuch bolta nahin ,mudhker dekhta hai.kamra kai logo se bhar chukka tha.
----------per janab mil to gaye,per gayab kyon huae.logaap per ungli utha rahe hain.kisi bhi tasveer ka banana yahan gunah mana jata hai.aap butparast hai to hinduon ki jagah ja ker rahiye.hume yahan chen se khuda ki ibadat mein

dhundiraj thaka hara ghar lota
kamala-------chor pakda gaya
----------------ulta kotwal mujh per bhadak gaya
----------------kya hua
-----------kuch ladkon ne tasveeren khichwai thi.bhage to pahchan liye gaye
------------ye to achi baat bazaar mein pheli hai.police ke kaam bhi aoge
----------nahin unka manna hai un tasveero ne uneh …..yhan se dukan utha ker…….
Kamala laker aik parsal deti hai
Kamala------nadkarni ka hai
Parsel kholker dekhta hai.photo rasayan ki sheeshiyan
-------kya likha hai?
-------photo postcard phatako ki tarah bik raheh hain.khsker gorimemon ki rang bhari tasveeren.railshell ko bhooljao.ajanta allora kajurap chalega.sapere ki tasveer dekh ker been baj gai.
Kamala--------tum is meem ko kya javab doge?
-----------------sona banane ki vidhya sikhni padegi.tumeh bhi sone se laad doonga.-
-----------gusa kyon ho sahe ho…..tum kisi jagah padhane ki naukri kyon nahi ker lete,apne pita ki ta
-----------or phir tyag ker bheekh ki katha bachun’ tum nahin pachim kitna agye bad gaya hai.aik din main german jaroor jaunga
[[Phalke stories in hindi continued]]

Hindi

2013-02-18T10:36:14Z

KaranWorah:

'''BEES RANIYON KE BIOSCOPE'''

''The Phalke story''

----

By Kamal Swaroop

----
[[Image:Page1A.jpg]]

Tu din bhar isi shila ke aas pass rahega kahin jayega nahi. Kiyon tu raji hai?
Din bhar tujhe aik hi baat sochni hogi.tu apne ghar ke vishay ke bare mein sochega.apne ghar ke sabhi logon ke chehre yaad karega.sage sambhndhi mitre adi ko nahi.un sabka smaran ker apni kalpna mein gharwallon ke saath sambandh sthapit karne ki chesta karna
Theek hai
Kal phir yehin pahunch jana phir baat hogi.

Kya aaj bhi ghar ki yaad aarahi hai?
Aaj ki chinta is prakar hogi.vahan dekh,door mein pahad or aakash ka sangam hua hai
Aakash ki or dhyan se dekh.souch yeh anant hai.such dukh se pare hai.or pahad virat hai kintu seems mein bandha hai.man le tera man aakash hai or man ki chintaye aakash mein vicharte badal.nerve darshak ki tarah dekh or sonch ki yeh badal kahan se aa rahe hain kahan ja rahen hai

The Ramayana and the Mahabharata contains the most inexhaustible stories for pictorial representation which any country possesses, all that is needed to promulgate their beauty and complete their fame in their purer and noble passages and with the power of European art, they should engage the service of the national pencil as they have fastened on the national memory and animated the national voice.

None can have a stronger claim on our attention than education. It is one of our sacred duties to be the means of conferring upon the natives of India, those vast moral and material blessings which flow from the general diffusion of useful knowledge, and which India may, under providence, derive from her connections with England.

Who am I?
A father adding to the thirty crore population of India?
My wife’s husband?
A servant of India who has not paid his dues to his motherland?
A victim to the desires of moneylenders?
A man bereft of worldly wisdom, obsessed by only one aim, and thus ruining his family life?

1 father foretells that he will deal in something white...

father and son are bathing in the river. father recites purush sutra and son repeats. they close there nose and go down in the water. river flowing over their head. when father emerges ,child is out of sight. father anxiously looks around. calls for him.terror.then suddenly son emerges at distanse.father is angry.walks out of water. Son runs after.touch.father pleads for not to touch

jyotirling ka shastriya rahasye kya hai?
-----kyonki jyotirling shabd prakash vachak hai or ling shabd srishti or samhar ka ghotak hai.kyonki ling shabd do dhatuon se banta hai,aik ka chitrikaran or doosre ka gati arth hai
avakt swaroop se vyakt hona arthat vividhakar jagat ka roop mein pragat hona

TRIMBK
Do hatho ne atta goontha.tod ker goll kiya.belan chalaya .phirhatho se utha ker hawa me nachaya.or garamtave per rakha.miti ke chule mein aag bhbhak rahi thi or is wajha se ma ka chehra damak raha tha.swarn kan aise ki suraj ke anne per inkar karati subh ki oss
Ma ne mudker dekha to ghutne ke bal chal ker dundhiraj chalker deewar ke pas mitti khodh ker kha raha tha.

Foren uth khadi hui or bhag ker use god me uthaya.ek ungali mu me dal kermiti baher nikali.do thapped rasida or dham sezamin per patak diya.dhundiraj.cheekh ker rone laga.
Dwarkabai--------ro,pet bhar ker ro.

Dwaraka ko kuch sujja.tezi se uth ker kuch dhoodhne lagi.ek sadi ka fata tukada mila.use do tukado me fada or govind ke hatho me aise bandha jaise ghodhe ke khur.

Kha or miti,tere hath ab aise hi bandhe rhnge.

Bal swarte dwarkabai,eak nazar aasmaan dekha.aakash me iklota badal.
Kuch shano badh jaise jaise palang ka dolana stabhit hua ……badal ka tukda gati mai hua.dhundiraj ki naak ki seedh me aaya. Rodan achanak thama. Palne me aise pada raha jaise ki parlokik ghatna ka mook sakshi.

Uski aankho ki putaliyno me ek kampan hua. Chal ker naak ke paas mili. Tabhi ek vichitra sa saphed saras palne ke paas utar ker baitha. Vah Kisi dhuser saphed dhatuon ke kalpurzon se bana tha.
Idhar ,chule ke angaar ko rakh se dhak ker vh sonch rahi thi ….hawa me chai stabta ne use chnka diya.dhndiraj ka achanak tham kiyo gaya.dil per haath rakh ker wo baher ki or lapki.dundiraj mano samadhi me leen tha.haath aise khule the jaise tukaramji ne kartal pakad rakhi ho.chere per vighankari muskan per mu me koi awaz nahi palana sthir tha.mano akash per us badal ke tukde ne use summohit ker rakha tha.

Yakayak tabhi vatavaran me chai teervata lupt hui.hawa bhane lagi or sath sath us badal ke tukde ko bhi le jane lagi.idher badal hila or udhar palana khud b khud jhoolne laga…… dhundiraj ki samadhi tooti ….vh roya
Dwarkabai-------------he deva,me to dar gai thi….shama ker de.ab kabhi n bandhogi.

Jyotirling ke muhn per dhare sone ke panch mukut mastak ko hatate hi dipako mein lo aye.prakash bahar ki or phalne laga.mandir ke darwaze khulne lage.kai adrishya haath ghntinya bajane lage.
Taza ,saphed puti deewaron se giren aangan mein dhundiraj ke peeche uski hamumre bhan daud rahi thi.dhundiraj manir mein ghusa or chup chap khada hogaya .kuch door kamala apne parivar wallon ke sath khaddi thi.koyale ka tukda dikha ker kaha chal tujhe ghoda bana ker dikhata hoon.
Dono daud ker mandir ke akant mein aaye.bina haath uthaye aik ghoda bana diya.deewar se do kadam peeche hat ker niharne laga.uske peeche khadi kamala visfarit netro se taak rahi thi.phir peeche mudhe to bahan shivram se shikayat ker rahi thi.
BAHAN-------dekho kaka phir se deewar kali ker di.ab mein sahan nahin ker sakti yeh koi phathshala hai.
Dhundi dar ker bola,ab nahi karoonga
Phir achanak laga passa palat gaya,jab kaka bole sunder hai

.

2 father invited to join the college as a Sanskrit teacher.3The family leaves for Bombay.

FATHER IN THE CLASS ROOM

सब जात गोल की.. हिंदू शस्त्र पंसारी की दुकान.
चमार कुछ बनना है तो उसको भी बना दीजिएगा?
क्या बनना चाहे?
ब्राह्मण
चमार ब्राह्मण है इस में क्या संदेह है? चमार में तीन अक्षर हैं. च- चारों वेद, , र, रामायण, म- महाभारत. जो इन तीनों को पढ़ाए वो चमार. इन चर्मकारों ने बहुत बढ़ा यग्य किया था. उस ही से चरम वती नदी निकली थी.
लाओ निकालो दक्षिणा.
और डोम?
डोम तो ब्राह्मण क्षत्रिया दोनों कुल के हैं. विश्वामित्रा वशिष्ट वंश के ब्राह्मण डोम हैं, हरीशचंद्र क्षत्रिया वंश के.
और कृपा निगना मुसलमान?
मियाँ तो चारों वंश में हैं, वाल्मीकि रामायण में लिखा है जो वर्न रामायण पड़े, मियाँ हो जाए. द्वारका में दो भांती के ब्राह्मण थे, जो बलदेवजी मानते थे, मुश्ली , मुश्लीमनया कहलाए, और जो कृष्ण को मानते थे, कृष्णमानया हुवे.

Student-sabe jaat goal ki.hinduon ka shastra pansari ki dukanhai.
Sada shiv-chamar kuch banna hahe to usko bhi kuch bana dijiyega?
--kya banna chahe?
-brahmin.
--chamar Brahmin hai isme kya sandeh hai.chamar me teen aksher hai.ch,charo ved.r, ramayan.m mahabharat.jo in teeno ko padhaye wo chamar.in charmkaron ne ak bar bahut bada yagye kiya tha.usi se charmavati nadi nikli thi .lao nikalo dakshina.
--aur dom?
--dom to Brahmin shatriya dno kul ke hain.vishvamitr vashist vansh ke Brahmin dom hain,harishchander shatrya vansh ke
-aur kripa nidhn musalman?
-miyan to charon vansh me hain,valmiki ramayan me likha hai jo varn ramayan padhe miya ho jaye.dwarika me do bhanti ke Brahmin the,jo baldevji mante the(mushli)mushlimanya kahlaye aur jo shri krishn ko mante the krishnmanya hua.
----aur dhobi
----ache khase Brahmin jai devke zamane me dhobi Brahmin hote the…dhoi kavi shamapati
---aur neech ko oonch
---oonch neech kya hai aap dakshina dete jaiye.nag pakdne se nagar aur gul jalane se gujrati

4After a time, it enters a cave-like Victoria Terminus, almost as though entering a camera obscura, and halts.5Phalke is separated from his family and gets lost. Darkness descends.6He is alone in a deserted Victoria Terminus, bewitched by the carvings of gargoyles, lizards, lions, tigers, flora and fauna, like in a fairyland. Suddenly it starts to rain, and everything comes to life.
Streams of water pour out of the stone mouths of mythical monsters, frothing at the jaws. Phalke is shaken, shivering with cold, crying for his father in the dark.7 JJ School of Arts sits with hammers and knives, carving out figures on the terraces and the tops. The cotton loaders are teasing a Victoria look-alike, a mad woman at the fountain outside.8Picking up leaves as if to build a nest, small birds move above.9A Victoria enters and drags the woman away by the hair.10A mad dog chases Phalke through a backdrop – streets, railway lines, ships and factories.11He enters a palace and finds the princess stretching her arms and calling his name, and then metamorphosing into a frightening old woman.
Victoria12With a jerk, Phalke comes awake. He is fifteen years old.
And he has to run for his examination at the Sir JJ School of Art.
As he sketches the live model, sitting nude, the hands and toes of the drawing keep disappearing.
JJSCHOOL RAV VARMA LECTURES dhundiraj dher sare vidhyarthiyon ke beech khada hai.painting per lecture sunte.
Karan aik hai.jal rang jab kagaj per avatari t

Hota hai to uske tej prsar ko dheek wakt rokne samarthya kalakar mein hona chaiye.tel rangon jaisa sudhar vahan nahin kiya jasakta hai.is ka arth ye hai ki telchitre kee apeksha jalrang adhik prbhaveshali hote hain?bilkul nahin .ulte main kahunga ki jalrang theek hai per usme shanty nahi hai.usli shanty hai kayale mein.vh adhik wastvik hai.per rang jalrang mein daud t
Dhoop rahati hai.tel rang ki gati dheemi,kadhin kashtdae hoti hai.

k

1886 – CLOCK AND CHIMES
13Mr. Griffith, the Principal, and Mr. Tarry, the Vice-Principal, present their annual report on the institute, while discussing their hjfuture prospects after graduation with his friends, Phalke podiscloses his intention to go to Baroda where his brother works with Romesh Chandra Dutt, the eminent scholar from Bengal.14 there is a commotion in his father’s classroom.
Phalke’s father is objecting to the presence of a non-Hindu in his Sanskrit class. Impulsively, he resigns his post and leaves the premises, taking his son with him. He decides to return to Trymbak and resume his old job of kathavachak.15Phalke’s brother from Baroda is at home, paying the family a visit, and Phalke prevails upon him to take him back to Baroda with him.1886 – 90 – THE MASTER
16 Phalke is taken to meet Prof. Gujjar, Principal of Kala Bhuvan, the technical institute under the royal patronage of HH the Gaekwad of Baroda.17Seeing extraordinary talent in Phalke, Prof. Gujjar puts him in charge of Kala Bhuvan’s photography studio where Phalke makes several experiments in photochemical processes.18He spends days and nights at the Sir Sayaji Rao library, reading 19Phalke also comes into contact with Shankar Moro Ranade, a dramatist who is about to perform ‘Winter Tales’ and his own play ‘Veni Samhar’ at the Maharaja’s palace.20To train his voice, Ranade sends Phalke to the Maulabux Musical School for training in music.

21The work of the director of the ‘Veni Samhar’ drama performed by the Baroda College had naturally fallen to my lot.
HEMLET

Rhana hai ya nahin .yehi sawal hai.acha kya hai,zalim takdir ke zamane ki chot,man hi man sahana ya musibato ke samundar ke khilaf hatiyar uthana orlad ker un ka khatma ker dena.mer jata so jata bas.kash ki hum eak neend le ker kha sakte kisone me ab koi dard nahin hai.or n weh hazar chois haad maas ke putle ko.kaisi man chahi pariniti hoti hai yeh mar jana.koun jane yeh chola choot jane per maut kius neend mein kaise kaise sapane aye.unhi ke dar se to hum thithak jate hain,or jhelejate hain jindigi ko.eak kali bala ki tarah.aisa na ho to jamane ki nafarat ko koun sahe or koun sahezalim ka zulm ,gamandi ki shekhi.nakaam mohabat ki kachot,kanoon ki dhilai,hukkam ke tever or nalayako ki thoker.

Mout vah anjan desh hai jiski sarhad se kabhi koi musafir naahin lotata.apane usi dar ki wajah se hum apni taklifo sebhagne ki badle unko jhelte hain.

21I had some interest in magic also.
On a darkened stage, a large blank canvas was illuminated by limelight. As he made passes with his right hand, the canvas gradually and mysteriously gave birth to a brighter and brighter painting, Raja Ravi Verma reproduction.21Dada stands first and is offered a scholarship.22After consulting Prof. Gujjar, he buys his first still camera with the first installment of his scholarship. he is gifted photo gun.

His father takes him to hilltop telling the story of descent of Ganga. He grows up in mist.

23He was nineteen years old.
He was lying on his back on a hill, looking up at the sky.
His camera stood on the tripod to one side.
Suddenly, mist began to creep towards the field.
A cloud of mist enveloped him and hid him from view.
All he could see was white mist.
White blindness, as if he was buried in a cloudbank of mist.
Then a snake slithered through the mist, crawled over his chest and stood above his face with fanned hood.
Rubbing itself against his chest, the snake began to slough off the skin covering its eyes.
Understanding, Govind picked up a cloth on which his head was resting and wiped the snake’s eyes clean.
Having regained its sight, the snake went quietly away.
When the mist cleared, the surrounding hills had turned into the white, snow-covered Himalayan Mountains.
The infinite sun peeped out from behind the infinite mountains.
On all sides the multicolored tree barks of autumn…
Govind was exhilarated by this vision.
This was the source of the Godavari…

1890
Telang or phalke
------mitr suna hai tum photpgraphy kerne lage ho to phir camera kidhar hai?
-------kuch atankari bandaro ne loot liya.
-------kon the kinyo the kuch gyaat hua?
-------anveshan gari hai.
-------shayad me tumare anveshan me sidh rahun.kaam aun.kintu jis yug me chitre gatimai ho tab tum mujhe yaad karoge
-------artharth?
-------photography kya hai?
--------the formation of an image on aflat surface by an optical device and achemical method of sensitizing that surface to a light source so that the image can be captured permanently.
---isi baat per tumeh apne mitro se milata hu

--------mitre ,ye mere vanar sakha hain.tumhare gane ke baad keval yehi mitre the.kai varsho se tumhari mitrata ki charcha karta aaya hnu.kintu milane ke phale tumhe acharya me dalne ki ischa thi .

monkeys were ready with the camera,moving around hanumanji.phalke sits with them,posing.telang takes the picture

24He watches the Prince ride his horses, play cricket, shoot crows, wrestle. He cannot comprehend palace intrigue, and the changes occurring in the state of Baroda.

26When he comes home, there is a surprise waiting for him.
His father has arrived from Nasik, bringing Phalke’s wife, Kamala, with him. Phalke is shy as well as nervous. His father asks about his prospects.27 his wife, She urges him once more to set up a separate home.

1895 – ALCHEMY, GODHRA

28Godhra is a railway junction surrounded by small tribal kingdoms.29Phalke hangs a sign outside his house. ‘Photographer Phalke’ it reads.

Miss malkm
A photograph comes alive.
Tum aagay or mein kitni kush hun.hamari residency ka munshi bdha badmash hai mein chahti hunki tum yeh patre padh ker iska tarkuma kerke sunao mein tumhen inam doongi.mr parkison ne kal sham club mein batlaya ki ap angreji bhi jante hai.

Ji .kisi hadh tak bol samajh to leta hunor ischa bhi haiki aapki is shandar juban ko urdu ,hindi gujrati,marathi ki tarah bol saku

Meri aaya ko mahalo se khat mila hai raja ki kisi begam ka khat.ak kuphiya dastavez .khas residency saheb ka.mein janna chati hun ki ye patre bhejne ke kabil hai?

Mere Calcutta ke ak dost parkison Sanskrit ki purani kitabe kharidne ko bahut utsuk hain umda kitabo prr acha daam bhi milega
Kuch kitabe leker hazir hounga. mein jald hi jald

Agar mujhe ynha paunchne mein der ho jaye to hazoor mujhe maaf keren.mere paas vilayati ghadi nahin hain .is liye aap logon kitarah wakt ka paband nahin ho pata
O!thariye ,ise kholiye
Dhakken khula to vah…..
Ghdi mein nar nari ka apurve rati sakriye joda bana huva tha
----- oh god ,apne to wrong side khol di

1896
dhobitalave per nadkarni ki photo—sports ke samane aik ghoda gadi ruki.gadi per likha tha traveling photographer. Gadi mein se kareeb 24 ,25 saal ka aik navjavan us jamane ki pant, kameez or jaket pahane utra.vh seedha dukan ke bheter gaya.dukandar mano use achi tarha janta pahchanto ho. Uth ker khule dil se usse gale milta hai baithne ko kursi deta hai

nadkarni…….dhundiraj,matapita tyag ,kahan ki pradikshana se aa rahe ho
dhundiraj……ye dekho ajanta ,allora khajuraho.clock tower se Bombay ke drishya,pashu-pakshi,deshi videshi sundriyan,raje maharaje,circus ke kalakar rajadeendayalapne samne……or ye chadi orye kamuk ghdi

nadkarni ghdi kholta hai aik chitre mein sambhog karti mudra sanggeet per ghoomne lagti hain
dhundiraj…….aik mitra mahila ki bhent.acha ye batao ,tumhe yaad hai aik panditji ko sona banane ki sanak thi,or unke pas pustakon ka bhandar tha.hai kya?
-----------kyon nahi. Ve yhin se rasayan le jate hain.yehrahi tumhari udtichidyiyan ke per gin sakne valli bandook,kisi bhi udan ko kaid ker sakti hai.ghoda apneadrishya pero ko……
shukriya mujhe vo kitaben chahiye.aik mahila hain London ke vidhvan premi ko khush karna chati hai
………..brahmn ho ker vishvasghat ker rahe ho?

----------mitre,gyan ke bhandar ko deemek chat ker jaye,us se acha hai ye gore kuch padh likh len
……….tum brisht ho rahe ho matre.apne pita ki tarha nahin jinone dev ki pavitrta ki khtir apna path tyag diya

30 meets alchemist
ghoda gadi aik chandni rat mein nhaye sphed mandiron kee galiyon se guzer rahi thi
aaker aik khandernuma char manzila imarat ke samne ruki
dhundiraj ne ghode ko ghass di oar imarat ke andar prevesh kiya.shastriji ko us bool bhulbhulaya mein pukarne laga

tahkhane ke eik andhere kamre mein panditji apne kimiyagiri ke upkarno ki sahayta sesona banane mein vyast the.dhundiraj jaise hi pravesh huye—usi samaye rasaynik kriya mein eak visphot hua.panditki ke much per kalikh puti.oar sphot ke sath hi hare rang ka dhuan teji se kamre me phalne laga.eak chuhe ki akriti ka dhun dhundiraj ne apne nathnu mein bhara.panditji ki surat dekh ker uski hansi chooti.
Panditki----------kahiye kya kaam hai?meine aap ko pahchana nahin.
Dhundiraj-------mein dji shasti ka putra hun,dhundiraj
Dhundiraj ne apne kamarband se khusa hua chota sa bauva nikala,usme se paanch rupaye nikal ker panditji ke charnon mein rakhe
-----------kya matlab hai?
-----------aapse kuch jaroori batten karni thi.
----------ye apne rupye uthaye or chalet banye, paanch rupye mein is pandit se seala koi kuch nahin ugalwa sakta hai.
----------ye to dakshina matre hai,apni baat arj karne ke baad sone ki ashrafiyon se sauda karoonga.
----------sone ki ashraffiyan?yani ki mohren?sona to mein khud chahata hoon magar khud ke haato se banaya hua

kimiyan ke upkarno se tarah tarah kerangon ki bhap nikal rahi thi.aik tambe ke bartan mein aml ki boond tapak rahi thi.panditji ne jaanch ker dekha sona nahin bana tha.gusse se bartan uchal ker phenk diya, sona nahin bana tha.haath ponch liye.
----------khre bhaeya aap se baat ker loonga,kya garmi hai
----------meine suna hai ki aap ke pass Sanskrit ki bahut pothiyan hai?
---------ji han hai to sahi ,per ab unhen maine khurake dimkan bana diya hai.kambakht ghar bhar mein phellen,lakdi ke darwaze khokle ker isse acha hai ki in namurad kitabon ko khati rahe.kya garrmi hai.tashreef rakhye.
------------vilayat se aik angrej aaya hai,uske pas aik kitab hai.maine khud apni aankhon se dekha ki usne apni jeb se sheeshi nikali or sirf do boond tambeke bade lote per dal di or phir apne nauker se kaha kiab is lotte ko bell patron se manjh do….manjhte hi mano karishma ho gaya.poora lota sone jaisa chamchma raha tha.phir bole yeh sara sona angrez sarkar mujhsse kharid leti hai
meri croro ki daulat vilayat mein hai.magar mujhe yahan se jane ke liye kames kam pachas sone ki deegre chahiye.to maine kaha jo lota apne abhi banaya use bech dijiye----rupiya mil jayega.vah bole nahin ,rejident babu ne isai mantr ki kasam khila rakhi hai.sona angrej sarkar hi le sakti hai. Mane kaha to angrez sarkar se hi paissa le lijiye……..is per voh gora kahne laga sona yahan bana ker deta hun to ve kalkatte ke bade laatt sahib ko khat likh ker batlate hai,or bade latt sahib vilayet meincompany bahadur ko….tab vh rupiya vhan unko bhej diya jata hai.is bechare ko aik bhi dhela nahin milta kinyoki yeh sharab bahut peeta hai.is liye veh chata ki koi uski kimiyagiri ki kitaabe pachas dinaron mein khareed le..kiyonki nuskha use yaad ho gaya hai
--------aisi kitab to sirf arab zaban mein hogi
--------sahi farmaya.
------ye angrez saltane bhalen loot len magar kya khaker angrezi zaban padenge
-------is gore ka vald English nasle ka hai.or ma arbi nasle ki.isai hote huve bhi apne bete ko kalmapak padaya.mera khayal hai ki yeh kitab bhi use uski walida ne…..
vh kitab apne dekhi hai?
Ankho se pachas dinaron main kitab us sharabi English man se khareed sakte hain.
-------ullu ka patha ho gaya hai jo aisi beshkimti kitab bech raha hai
------chunki nuskha use yaad hai isliye bechne ko taiyar ho gaya hai.
Per pachas du kahan se.haveli bech doonga to rahunga kahan?
--------ye kitabe aap mujhe bech dijiye main pachaas dinaren aap ko nagad doonga.

Panditji ko pasine choote.kuch sonch kerkisi doosre kamre ki taraf janelage.unoneh aik kivad ki sankal kholi,andar andhera tha.jalti tel bati leker ander ghuse ,peecbe dhundiraj or aik chuha.

Lagbhag teen char hazar pustken thi.haath lagate hi panne ret ho rahe the.sunhere rango mein sachitre.dhundiraj ne tel batti apne hatho mein le li.
----------inki kya kimat lenge aap?
----------aji kimat kya……main in saliyom se kutte ka pakhana utha ke n phenku,itni nafrat ho gai hai mujhe….apke devi devtaon se aap ke majab se.mujhe duniya ke tamam majabhon se nafrat hai.bus aik bar sona banaker dekhna chahta hun.
---------to inke liye pachas mohre pesh karu
---------jee nahi,51ya 101.mujhe shudh rakam chahiye.lena ho to leejiye varna dafa ho jaiye.dhundiraj ne ashrafiyan gin ker pesh ki,

dhundiraj ne kitabe bandhi,ghodagadi mein ladhi.

Is bar pandit ji kuch hari jaddi ghot rahe the.
Panditji……..janab aap shikari bhi hain?
---------nahin panditji ye tasveeren lene ki bandook hai.udti chidya ki bhagte ghode ki,narsima ki.
Panditji-------ruko, mujhe lagta hai tum mere kaam asakte ho.mere paas aik jaddi hai,use khane se admi sher mein badal sakta hai.doosri ko khane per manushya mein.main chahta hun jab meri kaya parivartan ho rahi hoto tum is bandook ko baraber tane rakhna.tasveeren utarana.mein bhi dekhun kya savar o jata hai?phi mujhe goli chata dena.main phir se admi ho jaunga.
Dhundiraj------aap mujhe mar ker kha gaye to?
------------beta tumhare paas bandook hai,sher banne ke baad mujhe kaise pata chalega ki ye nakli hai?ye pryog hai vigyan ki kasam.daro mat

panditji ne aik goli khudh kha li oar aik dhundiraj ko thama di

dhundiraj ki bandook ki nok tale sher mein badalne lage.dhundirajj ne banook ka ghoda teen baar dabaya per apna bhya adhik der tak nahin daba paye.bhge.door chandni raat men ghoda gadhi kitabe leker bhag rahi thi.

Idhar dhundiraj ki neend tuti.khidki ke bahar sara alam chand ki dudhiya roshni mein nahaya hua tha.kamala bagal mein so rahi thi.vh utha, seedhiyan chadhi.tale mein chabhi lagai.telbatti ki roshni tej ki ti dekha khidki khuli thi orkitaben gayab thi
Khidki ke bahar sota hua shaher tha,kuch chimniyon ka dhua,or door bhaap ki rail.mula ki azaan.

Dhundiraj daud ker neeche aya
Kamala kamala kitabe chori chali gayi.mein us mem ko kya muh dikhaunga?

Dhundiraj thane gaye.
Kotwal,laldadi walla muslman thaankho mein surma jaise ki babbersher ho
----------humne her padhe likhe admi ki talashi le li hai,per janab aap jin kitabon ka zikre ker rahe hai ve kahin nahin mili.or janab angreji angrezon ki talashi lene ka hak nahin hai.waise apka karobar kya hai.
------------kamere ki tasveere khichna
-----------toba toba
-----------in cheron ko pahchante hain?
----------ji han mere haath ki hain
----------ye bachhe kai dino se ghar se gayab the.apki in tasveeron ki vajah se pahchan liye gaye,inke sar per inam rakha tha aap uske hakdar huve.dhundiraj kuch bolta nahin ,mudhker dekhta hai.kamra kai logo se bhar chukka tha.
----------per janab mil to gaye,per gayab kyon huae.logaap per ungli utha rahe hain.kisi bhi tasveer ka banana yahan gunah mana jata hai.aap butparast hai to hinduon ki jagah ja ker rahiye.hume yahan chen se khuda ki ibadat mein

dhundiraj thaka hara ghar lota
kamala-------chor pakda gaya
----------------ulta kotwal mujh per bhadak gaya
----------------kya hua
-----------kuch ladkon ne tasveeren khichwai thi.bhage to pahchan liye gaye
------------ye to achi baat bazaar mein pheli hai.police ke kaam bhi aoge
----------nahin unka manna hai un tasveero ne uneh …..yhan se dukan utha ker…….
Kamala laker aik parsal deti hai
Kamala------nadkarni ka hai
Parsel kholker dekhta hai.photo rasayan ki sheeshiyan
-------kya likha hai?
-------photo postcard phatako ki tarah bik raheh hain.khsker gorimemon ki rang bhari tasveeren.railshell ko bhooljao.ajanta allora kajurap chalega.sapere ki tasveer dekh ker been baj gai.
Kamala--------tum is meem ko kya javab doge?
-----------------sona banane ki vidhya sikhni padegi.tumeh bhi sone se laad doonga.-
-----------gusa kyon ho sahe ho…..tum kisi jagah padhane ki naukri kyon nahi ker lete,apne pita ki ta
-----------or phir tyag ker bheekh ki katha bachun’ tum nahin pachim kitna agye bad gaya hai.aik din main german jaroor jaunga
[[Phalke stories in hindi continued]]

1877

2013-02-18T10:12:12Z

KaranWorah:

Dada:
As soon as the five forhead like crowns were removed from the face of the Jyotirlinga, the lamps sprung to light. The light started radiating outwards. The doors of the temple began to open. Several invisible hands began ringing the temple bells.

His little sister ran after Dhunidraj in that courtyard surrounded by freshly limed walls. Dhundiraj entered the temple and stood there, quietly. Kamala was standing a little distance away, with her family. He picked up a piece of coal and said, 'Come, let me show you how I make a horse'. They both ran into the silence of the temple. He drew the horse without lifting his hand even once. He stepped back from the wall to look at the horse he had made. Behind him, Kamala looked on with astonished eyes.

When they turned back, his sister was complaining to Shivram.
Sister: Look, Kaka has blackened the wall again. I can't stand this any more, is this a school yard? Dhundi got scared and said,' I won't do it again'. But Kaka said, 'It is beautiful' and it seemed like a unseen wave had turned the moment inside out.

Neelkanth leans against Sarasvati Bai where she is writing, and giggles. Sarasvati is half amused by his giggle but shushes him up, at the same time, her raised eyebrows ask him 'What?'

Neelkanth: He is Dhundi then why does he take his own name again and again?
-------

Dada writes:
The Initiation

Dhundiraj's father seated him on a rock and said, before going on his way

You must sit on this rock all day, without wandering away. Are you willing to do so? You will sit here and think about your home. You will recall the faces of all the people at home. Of your blood relatives only, not of friends and others.
You will remember those faces and try to connect with them from within your heart. Alright? Come here once more tomorrow, and we will talk further.

Are you still missing home? Today's thought will go thus: Look yonder, where the mountain has met the sky. Look carefully at that sky and tell yourself this is the boundless. Beyond happiness or sorrow. The mountain is huge, but it is enclosed in lines, in a form. Think of your mind as the sky now, and of your thoughts as clouds perambulating in the sky. See it all like you have never before set eyes on it and ask yourself,' where are these thought-clouds coming from and where are they headed? '

Tu din bhar isi shila ke aas pass rahega kahin jayega nahi. Kiyon tu raji hai? Din bhar tujhe aik hi baat sochni hogi.tu apne ghar ke vishay ke bare mein sochega.apne ghar ke sabhi logon ke chehre yaad karega.sage sambhndhi mitre adi ko nahi.un sabka smaran ker apni kalpna mein gharwallon ke saath sambandh sthapit karne ki chesta karna Theek hai Kal phir yehin pahunch jana phir baat hogi.
Kya aaj bhi ghar ki yaad aarahi hai? Aaj ki chinta is prakar hogi.vahan dekh,door mein pahad or aakash ka sangam hua hai Aakash ki or dhyan se dekh.souch yeh anant hai.such dukh se pare hai.or pahad virat hai kintu seems mein bandha hai.man le tera man aakash hai or man ki chintaye aakash mein vicharte badal.nerve darshak ki tarah dekh or sonch ki yeh badal kahan se aa rahe hain kahan ja rahen hai

father and son are bathing in the river. father recites purush sutra and son repeats. they close there nose and go down in the water. river flowing over their head. when father emerges ,child is out of sight. father anxiously looks around. calls for him.terror.then suddenly son emerges at distanse.father is angry.walks out of water. Son runs after.touch.father pleads for not to touch
jyotirling ka shastriya rahasye kya hai?
kyonki jyotirling shabd prakash vachak hai or ling shabd srishti or samhar ka ghotak hai.kyonki ling shabd do dhatuon se banta hai,aik ka chitrikaran or doosre ka gati arth hai
avakt swaroop se vyakt hona arthat vividhakar jagat ka roop mein pragat hona

---------------------------

On the ground, the wheat crop gets a shape as the studio flies further from it. It is T. A. Edison's face. The wind ruffles the wheat crop, a million little creatures fly out, buzzing.

-------

Dada:

I heard one day that Lytton's parents were storytellers. I would not believe it. Maybe he thought all of India was just a story. That is why he dressed up in that animal fur the white men think they look handsome in. He looked like wolf gone wrong, at his special party, to celebrate the Maharani's coronation. They bathed in jewels that time, the countryside was dying.

[[Image:Lytton3 OPK2E0Se3t4U.jpg]]
[[Image:Lytton Lord 0pEkwWvqmAhO.jpg]]

[[Image:Durbar for empress M6Q3TJTBsnko.jpg]]

[[Image:Queen victoria 494x600.jpg]]

[[Cylinders and sound recording/reproduction 1877]]

[[Image:Edisonposter.jpg]]

[http://www.recording-history.org/HTML/phono_technology2.php]

Invention Factory, Menlo Park, 21 miles out of New York,
--------
[http://www.indianetzone.com/49/marathi_literature_late_nineteenth_century.htm]
late nineteenth century, marathi literature