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With the emergence of the two important Brahmanical organizations, The Mahanubhava and the Varakari Panth, the literature of the Marathi language found a stable ground, more to do with the growing success of the Varakari Panth. Much like its Bengali counterpart, it is the most established of the Indo-Aryan written works.
Varakari Panth became more successful because of its close relations with the popular bhakti movements, especially with the famous faction of Vithoba in Pandharpur. These movements gave Marathi literature its literary jewels. The mystical poet-saint of India, Jnaneshvara’s youthful contemporary, Namdev was known for composing devotional tunes that are remembered for being a part of the sacred book of the Sikhs, the Adi Granth.
The sixteenth-century essayist Eknath’s most popular work is a Marathi variant of the eleventh book of the Bhagavata-Purana. Among the bhakti writers of Maharashtra, the most well-known is Tukaram, who wrote in the sixteenth century. A one-of-a-kind commitment of Marathi literature is the practice of povadas, gallant stories famous among a military group.
This custom was especially indispensable during the seventeenth century, when Shivaji, the incomparable Maratha ruler, drove his armed forces against the mighty Mughal ruler, Aurangzeb. Modern Marathi verse started with Kesavasut and in lieu of the nineteenth-century British Romanticism and liberalism, European patriotism, and the historical backdrop of Maharashtra, Kesavasut was at loggerheads with conventional Marathi poetry and began a school, which underlined home and nature, the heavenly past, and unadulterated lyricism.
From that point forward, the period was overwhelmed by a gathering of writers called the Ravikiran Mandal, who broadcasted that verses were not merely composed for their emotional aesthetics but rather were a piece of regular day-to-day existence. After 1945 Marathi verse looked to investigate human existence in the entirety of its assortment; it was abstract and individual and utilised everyday language.
The Madhali Sthiti by Hari Narayan Apte started the practice of the Marathi novel; his message was that of social change. V.M. Joshi investigated the instruction and evolution of a woman (Sushila-cha Diva) and the connection between craftsmanship and ethics (Indu Kale va Sarala Bhole). Significant after 1925 were N.S. Phadke, who upheld "art for art's sake," and Jnanpith Award recipient V.S. Khandekar, who countered the previous with an optimistic "art for life's sake." Realism was introduced in the twentieth century by Mama Varerkar, who resolved numerous social issues.
One more significant shift started in the nineties with the sonnets and analysis of Shridhar Tilve and the poetry of poets related to Saushthav, Abhidhanantar and Shabadavedh. In the post-nineties, this 'new little magazine development' picked up speed and writers like Shridhar Tilve who remained against postmodernism and nativism and artists like Manya Joshi, Hemant Divate, Sachin Ketkar, Mangesh Narayanrao Kale, Saleel Wagh, Mohan Borse, Nitin Kulkarni, Nitin Arun Kulkarni, Varjesh Solanki, Sandeep Deshpande, Vasant Gurjar who contacted the new areas of post-current life.
The verse assortments brought out by Abhidhanantar Prakashan, Time and Space, Popular Prakashan, Navta Prakashan and the ordinary issues of the magazine Abhidhanantar and irregular issues of Squashtv, Shabdvedh are taking Marathi verse to the worldwide standards. Another driving wave in contemporary Marathi verse is the verse of new Dalit wave artists like Arun Kale, Bhujang Meshram and new deshi wave writers like Pravin Bandekar, and Shrikant Deshmukh and Veerdhaval Parab.
FAQs
Baba Padamji's 'Yamuna Paryatan' was the primary Marathi novel composed on the subject of social reform.
The Yadava line contributed significantly to the beginning and development of Marathi writing.
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