[अल्बर्ट कामू] का नज़रिया अहसासों पर आधारित होता है। इसलिए स्वाभाविक है कि जिन बुद्धिजीवियों के पास इस तरह के अनुभव नहीं हैं, उन्हें इसे समझने में कठिनाई होती है। लेकिन मुझे लगता है कि इसी वजह से कामू अधिक सहिष्णु बन पाए क्योंकि उन्होंने जीवन के दोनों पक्षों को देख लिया था, जबकि बाकी लोगों ने हमेशा सिर्फ एक ही पक्ष देखा था। वे गरीबी की कल्पना तो कर सकते हैं, लेकिन असलियत नहीं जानते। सच तो यह है कि श्रमिक वर्ग को लेकर उनके मन में एक तरह का अपराध-बोध रहता है।
[Albert Camus] positions are sensed. So, naturally, those intellectuals who don't have that experience have difficulty in comprehending it. But I think it made Camus more tolerant because he had already seen both sides of things when the others had only ever seen one. They imagine poverty, but they don't know what it is. In fact they've got a sort of bad conscience about the working classes.
[Albert Camus] positions are sensed. So, naturally, those intellectuals who don't have that experience have difficulty in comprehending it. But I think it made Camus more tolerant because he had already seen both sides of things when the others had only ever seen one. They imagine poverty, but they don't know what it is. In fact they've got a sort of bad conscience about the working classes.
मुझे लगता है कि [अल्बर्ट] कामू के लिए उनकी माँ सिर्फ एक माँ से कहीं बढ़कर थीं। वह प्यार थीं, परम प्रेम। इसीलिए यह किताब उनके नाम है, और उन्हें समर्पित है—'तुम्हें, जो कभी इस किताब को पढ़ नहीं पाओगे।'
I think for [Albert] Camus his mother was more than just that. She's love, absolute love. That's why it's written for her, dedicated to 'you who will never be able to read this book'.
I think for [Albert] Camus his mother was more than just that. She's love, absolute love. That's why it's written for her, dedicated to 'you who will never be able to read this book'.
80 के दशक में, जिन्हें आप फ्रांस के युवा दार्शनिक कहेंगे—जैसे बर्नार्ड-हेन्री लेवी और आंद्रे ग्लक्समैन—उन्होंने इस बात को रेखांकित किया कि कामू ने राजनीति के मैदान में ऐसी बातें कही थीं जिन्हें कोई सुनना नहीं चाहता था। उन्होंने कहा कि सही [अल्बर्ट] कामू थे, न कि वे लोग जो सार्त्र के प्रभाव में बहक गए थे, यानी सोवियत संघ वाले साम्यवाद के प्रति उनकी अंधी भक्ति। और तभी से कामू को देखने और परखने का नज़रिया आज तक लगातार बदलता रहा है।
During the '80s, those you would call the young philosophers of France, such as Bernard-Henri Lévy and [André ] Gluxman, pointed out that Camus had said things no one wanted to hear in the political arena. They said it was [Albert] Camus who was right, not those who had slid under the influence of Sartre, that is to say an unconditional devotion to Communism as seen in the Soviet Union. And ever since then the evaluation of Camus has continued to modify up until today
During the '80s, those you would call the young philosophers of France, such as Bernard-Henri Lévy and [André ] Gluxman, pointed out that Camus had said things no one wanted to hear in the political arena. They said it was [Albert] Camus who was right, not those who had slid under the influence of Sartre, that is to say an unconditional devotion to Communism as seen in the Soviet Union. And ever since then the evaluation of Camus has continued to modify up until today
'द फर्स्ट मैन' में प्रेम बहुत महत्वपूर्ण है, इस रूप में कि [अल्बर्ट] कामू उन चीज़ों से प्यार करते हैं जिन्हें उन्होंने कभी चुना नहीं था, वह अपने बचपन के दिनों से बहुत सच्चे अर्थों में प्यार करते हैं। उनकी गरीबी का आलम यह था कि वे इसके अलावा कुछ सोच ही नहीं सकते थे कि वे क्या खाएंगे, कैसे कपड़े पहनेंगे। उनके परिवार में इन बुनियादी ज़रूरतों के अलावा किसी और चीज़ के लिए कोई जगह नहीं थी। दूसरों के लिए यह कल्पना करना भी मुश्किल है कि वे किस परिस्थिति में जी रहे थे। उनके जीवन में कोरी कल्पनाओं के लिए कोई जगह नहीं थी।
Love is very important in The First Man, in that [Albert] Camus loves these things he never chose, he loves his childhood experience in a very real way. Their poverty meant that there was nothing else they could think about but what they would eat, how they would clothe themselves. There's just no room for other things in his family. It's difficult for others to imagine the position in which he found himself. There is no imaginary existence in their lives.
Love is very important in The First Man, in that [Albert] Camus loves these things he never chose, he loves his childhood experience in a very real way. Their poverty meant that there was nothing else they could think about but what they would eat, how they would clothe themselves. There's just no room for other things in his family. It's difficult for others to imagine the position in which he found himself. There is no imaginary existence in their lives.
बेशक, [अल्बर्ट कामू] कोई अस्तित्ववादी नहीं थे, लेकिन वह एक प्रतिबद्ध इंसान थे। वह संघर्ष करने वाले व्यक्ति थे। यह यूं ही नहीं था कि उन्होंने 'कॉम्बैट' नाम के प्रतिरोधक (रेजिस्टेंस) अखबार का संपादन किया था।
Of course, [Albert Camus] wasn't an existentialist, but he was a committed man. He was a man of combat. It wasn't for nothing that he directed the Resistance journal called Combat.
Of course, [Albert Camus] wasn't an existentialist, but he was a committed man. He was a man of combat. It wasn't for nothing that he directed the Resistance journal called Combat.
'द आउटसाइडर' भले ही [अल्बर्ट] कामू की आत्मकथा न हो, लेकिन उस उपन्यास में कामू के अपने जीवन के कई अंश शामिल हैं। उसमें अकेलेपन और परायेपन का वह अहसास झलकता है।
The Outsider isn't [Albert] Camus, but in The Outsider there are parts of Camus. There's this impression of exile.
The Outsider isn't [Albert] Camus, but in The Outsider there are parts of Camus. There's this impression of exile.
[Albert Camus] ने हमेशा इस बात पर जोर दिया कि ऐतिहासिक कसौटियां और ऐतिहासिक तर्क ही एकमात्र ऐसी चीजें नहीं हैं जिन्हें ध्यान में रखा जाना चाहिए, और न ही वे सर्वशक्तिमान हैं; इतिहास इंसानों के मामले में हमेशा गलत भी साबित हो सकता है। आज हम इसी सोच की ओर बढ़ रहे हैं।
[Albert] Camus always insisted that historical criteria and historical reasoning were not the only things to take into account, and that they weren't all powerful, that history could always be wrong about man. Today, this is how we are starting to think.
[Albert] Camus always insisted that historical criteria and historical reasoning were not the only things to take into account, and that they weren't all powerful, that history could always be wrong about man. Today, this is how we are starting to think.
सिर्फ [अल्बर्ट कामू] के सोचने से पहले महसूस करने के अंदाज़ की वजह से। वह एक ऐसे क्षेत्र में हैं जिससे वह अक्सर भाग जाना चाहते हैं। बहरहाल, आपको यह सीखना ही होगा कि लहू या संघर्ष क्या होता है। इन सब बातों को एक तार्किक दायरे में लाना ही पड़ता है। इसी वजह से वह खुद को अकेला और बेगाना महसूस करते हैं।
Just because of [Albert Camus] way of sensing before thinking. He's in a field that he often feels like escaping from. In any case, you have to learn what blood is. It all has to be rationalised. In that he feels exiled, solitary.
Just because of [Albert Camus] way of sensing before thinking. He's in a field that he often feels like escaping from. In any case, you have to learn what blood is. It all has to be rationalised. In that he feels exiled, solitary.
मुझे लगता है कि [अल्बर्ट] कामू ने खुद को बहुत अकेला महसूस किया होगा। आप उनकी हर किताब में इस बात को साफ देख सकते हैं।
I think [Albert] Camus felt very solitary. You can see it in all his books.
I think [Albert] Camus felt very solitary. You can see it in all his books.
मुझे लगता है कि एक कलाकार के लिए सबसे महत्वपूर्ण बात यह है कि वह ज्यादा से ज्यादा लोगों के दिलों को छू सके।
I think for an artist what is most important is to touch as many hearts as possible.
I think for an artist what is most important is to touch as many hearts as possible.
[अल्बर्ट कामू] अपने उसूलों पर पूरी तरह अडिग रहने वाले इंसान थे, और यह तटस्थता बिल्कुल नहीं थी। यह एक संघर्ष था, यह उस इंसान की कहानी है जिसने खुद को पूरी तरह झोंक दिया था, जो हर बात के प्रति समर्पित था।
[Albert Camus] was completely intransigent, and that's not at all a neutrality. It's combat, it's a man who involved himself, committed himself.
[Albert Camus] was completely intransigent, and that's not at all a neutrality. It's combat, it's a man who involved himself, committed himself.
अल्बर्ट कामू के पाठकों ने कभी उनका साथ नहीं छोड़ा। कामू को भारी मात्रा में पढ़ा जाता है। वह गैलिमार्ड प्रकाशन के सबसे ज्यादा बिकने वाले लेखक हैं, और पिछले कई सालों से लगातार बने हुए हैं। उनकी किताबें बिकनी बंद कभी नहीं हुईं, इसलिए यह कहना कि उन्हें फिर से खोजा जा रहा है, इसका मतलब होगा कि उन्हें पढ़ा जाना बंद हो गया था, जो कि बिल्कुल सच नहीं है।
Albert Camus was never abandoned by his readers. Camus is enormously read. He's the highest selling author in the entire Gallimard collection, and has been for some years now. Sales haven't ever stopped, so to talk about rediscovering him would suggest that he isn't read anymore and that's not true.
Albert Camus was never abandoned by his readers. Camus is enormously read. He's the highest selling author in the entire Gallimard collection, and has been for some years now. Sales haven't ever stopped, so to talk about rediscovering him would suggest that he isn't read anymore and that's not true.
हम उस किताब के बारे में बात नहीं कर सकते जिसे [अल्बर्ट कामू] लिखना चाहते थे क्योंकि हमारे पास उसकी बमुश्किल शुरुआत ही है। उन्होंने उसका बहुत थोड़ा सा हिस्सा ही लिखा था, लेकिन उन्हें उसे लिखना ही था। मुझे ऐसा लगता है कि अगर आप 'द फर्स्ट मैन' की शैली को देखें, तो वह एक इंसान के रूप में उनके व्यक्तित्व से बहुत मेल खाती है, वह उनके बिल्कुल करीब है।
We can't talk about the book [Albert Camus] wanted to write because we have barely its beginnings. He had written hardly any of it, but he needed to write it. It seems to me that if you look at the style of The First Man it conforms much more to who he was as a man, it resembles him very closely.
We can't talk about the book [Albert Camus] wanted to write because we have barely its beginnings. He had written hardly any of it, but he needed to write it. It seems to me that if you look at the style of The First Man it conforms much more to who he was as a man, it resembles him very closely.
नोबेल पुरस्कार बाहर से मिलता है, एक तरह से यह सामाजिक मान्यता है। और मुझे लगता है कि एक सच्चा कलाकार अपनी भीतरी जरूरतों से संचालित होता है।
The Nobel Prize comes from outside, it's a social recognition [reconnaissance] in a way. And I think a true artist is driven by interior necessities.
The Nobel Prize comes from outside, it's a social recognition [reconnaissance] in a way. And I think a true artist is driven by interior necessities.
[अल्बर्ट] कामू नोबेल पुरस्कार के दबाव में नहीं लिख रहे थे। उनके भीतर के कलाकार के लिए यह सब बाहरी बातें थीं।
[Albert Camus] wasn't writing under the influence of the Nobel Prize. That was an external thing for the artist in him.
[Albert Camus] wasn't writing under the influence of the Nobel Prize. That was an external thing for the artist in him.
'द फर्स्ट मैन' [अल्बर्ट] कामू की मरणोपरांत प्रकाशित आखिरी कृति है। लेकिन वास्तव में, एक लिहाज से यह उनकी पहली रचना है, क्योंकि इसमें उनकी वैचारिक प्रतिबद्धताओं और उनके संपूर्ण लेखन अंदाज़ की झलक साफ दिखाई देती है। इसमें गंभीरता और संवेदनशीलता का एक अनूठा मेल है, और उन लोगों की आवाज़ बनने की ज़िद है जो खुद बोल नहीं सकते।
The First Man is [Albert Camus] posthumous last work. But in fact, in a certain way, it is his first, because in it you find the signs of his commitments, and of the whole way of writing as well. This mixture of austerity and sensuality, the will to speak for those not able to speak for themselves.
The First Man is [Albert Camus] posthumous last work. But in fact, in a certain way, it is his first, because in it you find the signs of his commitments, and of the whole way of writing as well. This mixture of austerity and sensuality, the will to speak for those not able to speak for themselves.
हमें इस बात को नहीं भूलना चाहिए कि [अल्बर्ट] कामू ने अपनी इच्छा का एक तिहाई हिस्सा भी नहीं लिखा था।
We must remember that [Albert] Camus wrote not even a third of what he had wished to.
We must remember that [Albert] Camus wrote not even a third of what he had wished to.
[अल्बर्ट] कामू के दौर के वे बुद्धिजीवी जो पहले उन्हें नापसंद करते थे, अब उनकी सराहना करने लगे हैं। यहीं पर बात फिर से साहित्य पर आ जाती है, और सब इस बात से सहमत हैं कि वह हमेशा से एक महान लेखक रहे थे।
Intellectuals of [Albert] Camus' age who had previously disliked him now appreciate him. And at that point we come back to literature, and it's agreed that he was always a great writer.
Intellectuals of [Albert] Camus' age who had previously disliked him now appreciate him. And at that point we come back to literature, and it's agreed that he was always a great writer.
समय बीतता गया और साहित्यिक तर्कों की जगह राजनीतिक समीकरण हावी होने लगे। सन 1955 में जब [अल्बर्ट] कामू ने 'द रेबेल' (विद्रोही) लिखी, तो एक बड़ा मोड़ आया और वामपंथी विचारधारा के लगभग सभी बुद्धिजीवी उनके विरोधी बन गए। चूंकि दक्षिणपंथी उन्हें पहले से ही पसंद नहीं करते थे, इसलिए वे पूरी तरह अकेले पड़ गए।
So time passes, and a much more political rather than literary reasoning intervenes, and from the day that [Albert] Camus wrote The Rebel, in 1955, there comes the rupture, and all, nearly all of the left wing intellectuals become hostile to him. Since he was already unfavourably viewed by the right-wing, he found himself entirely alone.
So time passes, and a much more political rather than literary reasoning intervenes, and from the day that [Albert] Camus wrote The Rebel, in 1955, there comes the rupture, and all, nearly all of the left wing intellectuals become hostile to him. Since he was already unfavourably viewed by the right-wing, he found himself entirely alone.
अमेरिका में [जीन-पॉल] सार्त्र से एक साक्षात्कार के दौरान पूछा गया कि फ्रांसीसी साहित्य का भविष्य क्या है, तो उन्होंने जवाब दिया कि भविष्य के अगले महान लेखक [अल्बर्ट] कामू होंगे।
There is an interview given by [ Jean-Paul] Sartre in the USA where he is asked what the future of French literature is, and he replies that the next great writer of the future is [Albert] Camus.
There is an interview given by [ Jean-Paul] Sartre in the USA where he is asked what the future of French literature is, and he replies that the next great writer of the future is [Albert] Camus.
युद्ध के तुरंत बाद यानी 1945 की मुक्ति के दौर में, [अल्बर्ट] कामू बहुत जाने-माने और लोकप्रिय थे — [जीन-पॉल] सार्त्र और उस पीढ़ी के सभी बुद्धिजीवियों के बीच।
Just after the war, the liberation of 1945, [Albert] Camus was well known, well loved by [Jean-Paul ] Sartre and all the intellectuals of that generation.
Just after the war, the liberation of 1945, [Albert] Camus was well known, well loved by [Jean-Paul ] Sartre and all the intellectuals of that generation.
[अल्बर्ट] कामू ने गुलाग और स्टालिन के मुकदमों की कड़ी निंदा की थी। आज हम देख सकते हैं कि वह बिल्कुल सही थे। उस समय यह कहना कि सोवियत संघ में नजरबंद शिविर (कॉन्संट्रेशन कैंप) हैं, एक पाप और बहुत गंभीर बात मानी जाती थी। आज जब हम सोवियत संघ के बारे में सोचते हैं, तो उन शिविरों की बात भी हमारे ज़ेहन में आती है, लेकिन पहले ऐसा सोचने या कहने की किसी को इजाजत नहीं थी। अगर आप वामपंथी खेमे से हैं, तो आप ऐसा सोच भी नहीं सकते थे।
[Albert]Camus had denounced the gulag and Stalin's trials. Today we can see that he was right. To say that there were concentration camps in the USSR at the time was blasphemous, something very serious indeed. Today we think about the USSR with the camps also in mind, but before it just wasn't allowed. Nobody was allowed to think that or say that if you were left-wing.
[Albert]Camus had denounced the gulag and Stalin's trials. Today we can see that he was right. To say that there were concentration camps in the USSR at the time was blasphemous, something very serious indeed. Today we think about the USSR with the camps also in mind, but before it just wasn't allowed. Nobody was allowed to think that or say that if you were left-wing.
हकीकत में, [अल्बर्ट] कामू के विरोध के पीछे हमेशा से कम्युनिस्ट पार्टी का मुद्दा ही जिम्मेदार था। यह हमेशा और मुख्य रूप से एक राजनीतिक मामला था, एक तरह की गलतफहमी।
In fact it was always the Communist problem which was responsible for the opposition to [Albert] Camus. It was always and overall a political thing, a kind of misunderstanding.
In fact it was always the Communist problem which was responsible for the opposition to [Albert] Camus. It was always and overall a political thing, a kind of misunderstanding.
'द फर्स्ट मैन' को प्रकाशित करते समय मैंने खुद से कहा था, 'यह बहुत भयानक होने वाला है,' लेकिन यह डर आलोचनाओं के दृष्टिकोण से था। मुझे [अल्बर्ट] कामू के पाठकों से कोई डर नहीं है। मुझे इस बात का डर है कि अखबारों में उनके बारे में क्या लिखा जाएगा।
In publishing The First Man I said to myself, 'this is going to be awful,' but awful from the point of view of the criticism. I'm not afraid of [Albert] Camus' public. I'm afraid of what will be written in the papers.
In publishing The First Man I said to myself, 'this is going to be awful,' but awful from the point of view of the criticism. I'm not afraid of [Albert] Camus' public. I'm afraid of what will be written in the papers.
ऐसे कई संकेत मिलते हैं कि आज बुद्धिजीवी एक बार फिर [अल्बर्ट] कामू की तरफ लौट रहे हैं। साम्यवाद के पतन ने इतिहास के जरिए उन्हें यह सही साबित कर दिखाया है।
There are indications that today the intellectuals are coming back to [Albert] Camus. History has given them reason to, with the fall of communism.
There are indications that today the intellectuals are coming back to [Albert] Camus. History has given them reason to, with the fall of communism.