It was ironic, in the sense that the guys would be typically years younger to him. My (late) grandfather, who grew up in Ratnagiri, Konkan (the coastal area of Maharashtra) had this habit of greeting old friends with a “are wa, aahat ka ajun!”, which translated means: “oh excellent, you’re still there” (as in still alive). I remembered the whole thing again in context of some breakfast time conversation. Not that this cannot be done in Hindi, but I doubt if it will need a complete rewrite, rather than a translation? What Eco calls translating the meaning and not the words… The irony is almost lost in translation - the poet using poem against itself, or even himself. The original has this dry, ironic, third-person tone (note not pov, but tone), where as the translation has a first person tone (and pov). But that apart, it’s the inherent tone, and I think this is where Vivek has was constrained by the language, and not by his ability. One is, as identified by a friend, the mixing of Urdu and high-brow shuddh Hindi, which doesn’t gel well. There are different factors why it’s probably not effective, IMO. This time around, since I know Vivek and how good he’s at poetry, I was kind of disappointed with the translation. But then I sort of didn’t think much about it. I cannot recall who, and which ghazal, even. Incidentally someone had posted a translation of one ghazal I wrote long back, on Sulekha. Vivek is a gifted poet (note, I’m not saying also :D), and normally the narcissist in me would be happy that my poem is being translated. So yes, this all (this as in this thought process) started when Vivek posted a Translation of my poem A Death Foretold. The reasoning he offers for the dingy, stuffy post office buildings is something you can relate with even if you have never visited one, because almost all government administrative buildings have a similar structural design.Conventional wisdom tells you not to blow your trumpet, but then I was never conventional, and rarely had any wisdom to speak of. Never did he have to resort to foul language to generate laughter.Ī prominent feature of Deshpande's stand-up routines was his immaculate observation and deep understanding of human nature, as in the video clip below, where he analyses the working of the postal department.
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But Deshpande's comedy was clean and clever, making full use of his command of the Marathi language and its idioms and phrases and his own histrionic ability.
The internet has given them the freedom to express their views freely without fear of censorship, notwithstanding the occasional controversy or lawsuit. Nowadays, with the advent of the internet, we have seen a lot of people take up stand-up comedy as a full-time profession, with varying degrees of success. Therefore, it would be no exaggeration to call PL Deshpande a pioneer of stand-up comedy in India. In fact, it had just begun to gain popularity in the West, particularly in the USA, with comics such as Mort Sahl and George Carlin, who, instead of doing simple slapstick physical comedy routines, ventured into more taboo subjects like race, politics and sexuality.ĭeshpande's stand-up routine was similar in that, through his selected stories, he would address issues from political debates of the day to people's false sense of pride about trivial things. Stand-up comedy was a fairly new form of entertainment in the 1960s when Doordarshan began airing Nivadak Pu La. Deshpande would narrate some of his favourite stories from his books in his unique style. Doordarshan offered him a programme called Nivadak Pu La, meaning Selected Pu La. It was during this period that he got a chance to showcase his talent as a humorist and stand-up comedian. In the 1960s, Pu La began working for the public broadcaster Doordarshan, which was still in its infancy. Along with his excellent writing, Deshpande was an equally good stand-up comedian. In Deshpande's case, today's generation may not know much about his stand-up performances. As happens with any multi-faceted personality, some aspects tend to get overshadowed by others.
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