3 reasons to read- “The brief history of Time”

Biographies, dramas, science-fictions, thrillers etc, the more you explore the more you dive deep into the world of words, where the author is present and absent at the same time. This “present absent” form of interpretation can only be experienced while reading. 

This type of dramatic opening may not be suitable for a non-fiction, science-centric book like “The brief history of Time” written by Stephen Hawking, but I found the book as a great poem that satisfies curiosity with intellect. Here are the 3 reasons according to me why someone should read “The brief history of time”.

Perspective

The book offers the widest and the tiniest perspectives possible, as wide as more than one universes and as tiny as particles vibrating in 10 dimensions. These perspectives offer you a completely different view of the world and the surrounding you live in. Such a frame of reference to the world helps you give birth to all kinds of essential issues that should be resolved, or the questions that should be attempted, or the belief that should be questioned, the list goes on. And the most important, it gives you a scientific perspective without being atheist.

Timeline

The book gives you an elaborate understanding of how a theory is developed from a mere idea through a route of little-by-little advancements, without using any scientific equations. How human beings have intellectually grown in recent centuries is highlighted. From the back of a tortoise to blackholes, from Galileo to Doppler, from Newtonian gravity to relativity to string theory, humanity have come a long way in finding the unified theory of the universe and to predict the future. 

Curiosity

Curiosity is the fuel of a genius. Mind should never get full on it. This book helps in igniting that fire. Why early universe is considered to be dense and hot? Why once, there felt a need of even proving 1+1=2? How many dimensions are there? Why is space expanding? These questions are very science related but at least they make you think why are we the way we are. The book takes you through the deep mysteries of universes and theories, both accepted and rejected, and puts you back at the same place you started, but with a different sense of understanding and a better approach towards life.

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Summary of the book - The Oath of the Vayuputras by Amish Thripathi

On meeting Brahaspati at the Naga capital of Panchavati, Shiva comes to know about the evil "Somras", and its ill effects on the people of India. Brahaspati explains that the large amounts of water required to manufacture Somras has resulted in the depletion of the Saraswati River's water. The waste generated in the process of manufacturing the Somras was dumped in the Tsangpo river, which flows through Branga territory as Brahmaputra, and resulted in their disastrous plague. Also the birth of Naga babies was credited to Somras as it results in the multiplication of cells at a very high rate which lead to their deformation and outgrowths.

Shiva travels to the hidden city of Ujjain along with his entourage to meet the chief of Vasudev pandits, Gopal. He explains how the Vayuputra council—an ancient tribe left by the previous Mahadev Lord Rudra, dwelling in remote land of Pariha in the West—train a member of their tribe as the Neelkanth when "evil" rises. Shiva comes to the conclusion that it was his uncle Manobhu, who turns out to be a former Vayuputra member, trained him as Neelkanth. Seeing that Meluha is the center of manufacturing the Somras, Shiva declares a holy war on the Kingdom and appeals the people to stop using the drink. Parvateshwar decides to join Meluha, since he thinks that it is his duty to defend his motherland; Anandamayi joins him. Shiva also realizes that Maharishi Bhrigu is the mastermind behind the attack on Panchavati, plotting against him along with the Swadweepan emperor Dilipa and Daksha. The preparation for the war mobilizes as Branga, Vaishali and Kashi come to Shiva's aid. He takes the Nagas, the Brangas and the Vasudev elephant corps to attack Meluha, while Kartik and Ganesh attack Ayodhya and successfully prevent them from aiding Meluha. Shiva captures the city of Mrittikavatti and makes the citizens imprison the Meluhan army led by Vidyunmali, who believes Shiva to be a fraud. He escapes and persuades Bhrigu and Parvateshwar to attack Sati's army by a thousand Meluhan troops, and defeat them.

Following this defeat, Shiva abandons the plan of invading Meluha and leave for Pariha with Gopal; they wanted to procure the deadly Brahmastra weapon, to threaten the Meluhans for peace with them. There he meets the chief of Vayuputras, Mithra, who turns out to be his maternal uncle. Mithra convinces the Vayuputras that Shiva is the real Neelkanth and gives him the Pashupathiastra which acts on a specific target, rather than annihilating everything like the Brahmastra. Meanwhile, Parvateshwar uses decoy ships to give an impression to Kali that he was going to attack Panchavati. Alarmed, Kali takes the bait and leaves with the finest Naga soldiers in their pursuit. However, she realizes her folly and returns.

Daksha plans to assassinate Shiva and sends Vidyunmali to get Egyptian assassins. He frames a peace treaty for Shiva but in his absence, Sati attends the peace conference and finds out the truth. She fights the assassins valiantly, but is killed. The war ends with Sati's death, but an enraged Shiva decides to use the Pashupatiastra to finish Devagiri forever. Parvateshwar, Anandmayi, Veerini decide to stay back in the city and die with it, but Kartik persuades Bhrigu to remain alive and share his vast knowledge with future generations. Shiva unleashes the astra and ends Devagiri's history, along with the Somras manufacturing units hidden beneath the city.

In the epilogue, Shiva retires to Mount Kailash where he lives the rest of his days peacefully, though missing Sati every day. Ganesh, Kali and Kartik become renowned as Gods for their prowess, all over India. They take revenge for Sati's death by wiping out the whole clan of the Egyptian assassins. Bhrigu continues teaching and collates his knowledge in a book called Bhrigu Samhita. Sati's death is not forgotten and she is later renowned as Goddess Shakti. It is revealed that in order to ensure that the Somras is not mass-manufactured again, the course of the Yamuna is turned towards the east, thus drying up the Saraswati River.

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Summary of the book - The Secret of the Nagas by Amish Thripathi

Continuing from The Immortals of Meluha, Shiva, the fabled savior of the land of Meluha, rushes to save his wife Sati from a Naga who escapes, leaving behind coins with strange engravings. After consulting with Sati's father Daksha and Dilipa, the king of Ayodhya, they come to know that the coin belongs to King Chandraketu, the ruler of the land of Branga in Eastern India. Shiva and Sati travel to Kashi, where a community of Brangas inhabit, in order to get more information on the Nagas. They are accompanied by Shiva's general Parvateshwar, associates Nandi and Veerbhadra, Ayurvati the doctor, and Bhagirath and Anandamayi, the prince and princess of Ayodhya. At Kashi, Parvateshwar is mortally injured in a riot at the Branga community. Their leader Divodas gives Parvateshwar a healing herb which works. Shiva learns from Ayurvati that the herb is only available at Panchavati, the capital of the Nagas. Divodas explains that they get the herbs from the Nagas due to a plague infesting Branga. Shiva decides to travel to Branga and Divodas orders special ships to be made for the journey.

Meanwhile, Sati gives birth to Kartik, her son with Shiva. As he leaves for Branga, Sati stays back at Kashi to prevent a lion attack on the local villagers. They are helped by a group of Naga soldiers, led by a man and a woman, who assist them in killing the lions. The Naga woman reveals herself to be Kali, Sati's twin sister and the man as Ganesh, Sati's child from her first marriage believed to have died at birth. Both were denounced by Daksha since born with deformities. Kali had two extra functioning hands while Ganesh's face resembled that of an elephant's. An overwhelmed Sati brings back Kali and Ganesh to Kashi.

At Branga, Shiva meets the recluse bandit Parashuram, who can enlighten him about the Nagas and the medicine. After defeating Parashuram, Shiva comes to know that he is a Vasudev, the group of scholars who have been guiding him on his journey. Parashuram is also surprised to see Shiva as the fabled Neelkanth; in remorse for his actions, he severs his left hand. He gives the recipe of the medicine to the people of Branga and joins Shiva's entourage. At Kashi Shiva is introduced to Ganesh and Kali by Sati. Shiva recognizes Ganesh as the Naga who attacked Sati and as the supposed killer of his friend, the scientist Brahaspati. Enraged, he leaves Sati and takes up residence at the Branga locality. One day, while playing with Kartik at a local park, Ganesh saves them from a lion attack. Shiva forgives him and together with Sati, confronts Daksha, who confesses to murdering Sati's first husband and denouncing Kali and Ganesh. Daksha blames Shiva for causing distrust between him and Sati; he is asked to leave for Meluha.

Shiva travels to Panchavati under the guidance of Kali, who is the Naga queen and knows how to reach the capital through the treacherous Dandak Forest. On their journey, the entourage is attacked from the river side by a cache of ships containing the weapons of mass destruction known as Daivi Astra that was once forbidden by Lord Rudra, the legendary supreme ruler of India. After fleeing from the attack and safely reaching Panchavati, Shiva and Sati suspect Daksha to be behind this. Kali takes Shiva to a nearby school in the capital, where he finds Brahaspati, perfectly alive and teaching a class.

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Summary of the book - The Immortals of Meluha by Amish Tripathi

Meluha is a near perfect empire, created many centuries earlier by Lord Ram, one of the greatest Hindu kings that ever lived. However, the once proud empire and its Suryavanshi rulers face severe crisis as its primary river, Saraswati, is slowly drying to extinction. They also face devastating terrorist attacks from the Chandravanshis who have joined forces with the Nagas, a cursed race with physical deformities. The present Meluhan king, Daksha, sends his emissaries to North India in Tibet, to invite the local tribes to Meluha. Shiva, chief of the Guna tribe, accepts the proposal and moves to Meluha with his people. Once reached they are received by Ayurvati, the Chief of Medicine of the Meluhans. The Gunas are impressed with the Meluhan way of life. On their first night of stay the tribe wake up with high fever and sweating. The Meluhan doctors administer medicine.

Ayurvati finds out that Shiva is the only one devoid of these symptoms and that his throat has turned blue. The Meluhans announce Shiva as the Neelkanth, their fabled saviour. Shiva is then taken to Devagiri, the capital city of Meluha, where he meets Daksha. While staying there, Shiva and his comrades, Nandi and Veerbhadra, encounter Princess Sati, the daughter of Daksha. She is a Vikarma, an untouchable person due to sins committed in her previous births. Shiva tries to court her, but she rejects his advances. Ultimately Shiva wins her heart and even though the Vikarma rule prohibits them from doing so, an enraged Shiva vows to dissolve it and marries Sati.

During his stay in Devagiri, Shiva comes to know of the war with the Chandravanshis and also meets Brahaspati, the Chief Inventor of the Meluhans. Brahaspati invites Shiva and the royal family on an expedition to Mount Mandar, where the legendary drink Somras is manufactured using the waters of the Saraswati. Shiva learns that the potion which made his throat turn blue was actually undiluted Somras, which can be lethal when taken in its pure form. But he was safe, indicating him to be the Neelkanth. Somras has anti-ageing properties making the Meluhans lived for many years. Brahaspati and Shiva develop a close friendship and the royal family returns to Devagiri. One morning, the Meluhans wake up to a blast that took place at Mandar, destroying parts of the mountain and killing the scientists living there. There is no sign of Brahaspati, but Shiva finds the insignia of the Nagas, confirming their involvement with the Chandravanshis.

Enraged by this, Shiva declares war on the Chandravanshis at Swadweep, consulting with Devagiri Chief Minister Kanakhala and the Head of Meluhan Army, Parvateshwar. A fierce battle is fought between the Meluhans and the Swadweepans in which the Meluhans prevail. The Chandravanshi king is captured but becomes enraged upon seeing the Neelkanth. The Chandravanshi princess Anandmayi explains that they too had a similar legend that the Neelkanth will come forward to save their land by launching an assault against the "evil" Suryavanshis. Hearing this, Shiva is dumbfounded and utterly distressed. With Sati he visits the famous Ram temple of Ayodhya, the capital of Swadweep. There he has a philosophical discussion with the priest about his karma, fate and his choices in life, which would guide him in future. 

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Review of the book- The girl on the train by Paula Hawkins

The Girl on the Train is a 2015 psychological thriller novel by British author Paula Hawkins that gives narratives from three different women about relationship troubles and binge drinking.

The narrative is skillfully split between three women whose lives interlink tragically: Rachel, Megan and Anna. We first encounter Rachel on the commute home from London, just another tired worker on her way back to the suburbs – except that she has four cans of pre-mixed gin and tonic in her bag, and that’s only for starters.

The journey takes Rachel along the backs of houses on the street where she used to live. Unable to look at number 23, her old home, where ex-husband Tom now lives with new wife Anna, she focuses instead on number 15. She has become obsessed with the beautiful young couple living there, whom she names Jess and Jason. Rachel looks out for the pair every day, daydreaming about their perfect lives. Until one day she sees something that startles her in their garden, and when she reads in the paper that “Jess” – who is really called Megan – has vanished, she decides to tip off the police. She is convinced that “Jason”, now the prime suspect – and really called Scott – would never harm his beloved wife. But Rachel is prone to blackouts, irrationality and drunk dialling, and the police dismiss her as a rubbernecker. She has also been persecuting Tom and Anna, bombarding them with offensive messages. It is a bold move to create such a flawed female lead; the alcoholic lifestyle with its miserable excuses, urine-soaked underwear and vomit on the stairs is outlined in all its bleak, cyclic predictability.
Rachel is not just weak, occasionally spiteful and self-pitying, but also overweight and relatively unattractive; a sad sack compared with vibrant Megan and glossy, sexy Anna, who glories in her victory over her predecessor. Yet as Hawkins demonstrates, apparently fixed identities and fortunes have their foundation on shifting sands. The more Rachel discovers about the missing Megan, the less she likes her. Scott, the apparently grieving husband, is likewise more slippery than his charming manner indicates. Anna, too, comes to seem less like an innocent victim and more like a vindictive troublemaker. Tom is a nice guy driven to distraction by his batty ex-wife, but is there something disquieting lurking beneath his calm surface?

Hawkins juggles perspectives and timescales with great skill, and considerable suspense builds up along with empathy for an unusual central character who does not immediately grab the reader. “Ingenious” twists usually violate psychological plausibility.

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Snake | Nag totem in Indus valley civilization

This article is a translation of a topic from the book "वेदकालीन नाग जातियों,राजाओं तथा संस्कृति की खोज" by Avantika Prasad Marmat

A natural object or animal that is believed by a particular society to have spiritual significance and that is adopted by it as an emblem.

The "Nag totem" is important. Since ancient times primitive castes of the world have been influenced by this totem. Most countries in the world have also been affected by the "Nag Totum". From the excavation work done by the Department of Archeology in India "Indus civilization" and later other civilizations came to light. The Indus civilization has been accepted as a pre-Aryan civilization. In the postures obtained from the excavation,

 a serpent stands behind two male form deities side by side with the Mahishmund chief deity. 

On the second Indus-Mudra, Shaktidhar is standing behind a bull fighting a human.  

In the third Indus posture, the serpent is guarding the deity with its head placed on the wooden bench. 

It is necessary to analyze the pictures of the said Indus postures, because for the antiquity of the Nag-totum, these paintings provide very valuable and important material for the history of the Naga caste. 

Picture no.1 : The following is revealed-

1. The Mahasamund-dominant deity sits in the middle.

2. Two male forms sub-deity are sitting next to the principal deity.

3. Male form A serpent stands behind the sub-gods.

The standing of the serpent "snake" below the sub-deities in the pose is an important view, but this context has not been considered. In our opinion, both the serpent and the male form deity are one and the same. One in the animal (snake) form and the other in the male form. In the snake-totmag, the snake was not only the snake, but also the serpent was the metaphor of the serpent. Both were devoted to each other, both were synonymous with each other. By erecting the male form the sub-deity and the serpent behind it, the mudrakar(ancient painter) has made the then ideology clear by imprinting the oneness of the "serpent totem age". 

Picture No. 2 :The following is revealed -

1. There is a Shaktidhar man who is killing the bull.

2. The bull, Shaktidhar is fighting a man.

3. Snake stands behind the bull. What was the rationale for the mudrakar(ancient painter) to put the snake behind the bull? It has not been considered, which is necessary. The bull (Taurus) is believed to be the vehicle of Shiva, near whom the snake lives. In Indus-civilization bull was considered sacred and revered. Taurus is just another form of snake. To show the unity of the snake and the bull, the mudrakar(ancient painter) has put the snake behind the bull.

In our opinion, the serpent, in the form of a bull, is fighting with the Shaktidhar man. What else could be the significance of the snake standing behind the bull? Perhaps this picture represents the duality of Nag and different beliefs. The story of such a struggle has been mentioned by the scholar writer Dr. Rangeya Raghav that in the story of Garuda Webilonia, the bull used to eat, when the snake came out and killed it. This confirms the serpent form of the bull and may be the symbol of "Garuda", perhaps a Shaktidhar man. Confirming our view, another Babylonia legend is cited, according to which in Babylonia there was a deity Ju-Garuda who was killed by a "snake", that snake hid in the bull's body.

Picture no.3: The following is revealed-

1. A wooden bench is placed and a serpent is placed on it.

2. Nearby is Devadrum (tree). The question arises that if the intention of the serpent is to protect the deodrum (tree), then the wooden head and the head of the serpent is placed on it, what is its meaning?

In our view, the serpent's head is placed on the wooden bench is a symbol of serpent-rule. Since the Devdrum (tree) and the Nag shape are in contact with each other, it seems appropriate to consider the tree as a tree serpent. Tree-worship, snake-worship is a great achievement of the Indus civilization. The presence of snake in the above three Indus-postures proves the fact that the people of Indus-civilization "snake" totemism was under a wide sphere of influence, due to which the serpent (snake) and the serpent (human) were complementary to each other. 

- translated by siddhesh haware

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Biography of Sant Tukadoji Maharaj in short

Yavali (Martyr) near Amravati is the birthplace of Rashtrasant Shri Tukadoji Maharaj. Shri Bandoji i.e. Namdev Ganesh (Thakar-Brahmabhatt) is his pilgrimage form. Mata-Manjuladevi is the daughter of Tukaram Buwa Wankhede. Swabhimani Pita Sivankam Kari Nibhari Mata Dalankandan Kari. By the grace of Guru, this uneducated couple gave birth to their only son in a huge storm on Chandramouli Yo Vaishakh Shu. Shri Gulabrao Maharaj, the supernatural saint of Akot's Brahmanistha Haritwal Madhan, performed the naming ceremony himself. Instead of the birth name 'Manikdev', the name Gurudatta - 'Tukadya' came into the limelight. Ancestor Dattabhakta and Vitthal Bhakt, but the nature of the parents is as odd as the names and the home is very tough. In this environment, Manikdev became a contemplative but a hood. Even if I put it in school, 'Who did the school? Let's go to the river bank, but pass the exam! Ekanti Ghyan Ni Lokanti Kavita-Kirtan is his childhood hobby! He mastered new skills like swimming, equestrian, wrestling etc. with fearlessness. He easily learned Chhandagayan from Vimalanand Bharati of Chandurbazar, Khanjari from Hanavati Buwa of Yavali and Yoga and Ektari from Satalikotlikar Maharaj.

It was his turn to leave home with his mother as a child and his intimacy blossomed in the company of Varkhedakshetri Nathpanthi Videhi Saint Shri Adkoji Maharaj! He started singing Swakavya by Guru's command. When the centenarian Adkoji Baba was buried in 1921, Manik Deva received a special prasad.

Although Guruviraha was unbearable, he completed his primary education for the promise he had made to his mother and then reached Pandharpur without any worries. The ideals of the local Pundalik taught him maternal and paternal service and he came to Yavali and took care of his mother by doing sewing. But Ishwar-darshanotkantha became strong. In 1925, he sold his sewing machine and gave alms and waited for Ramtek's forest. While doing penance like a pole in Ramtek forest, he got an unknown Mahayogi like Narada. He taught him Hatha Yoga in his own yoga cave.

Rich Krishnarao Bhute from Chimur area took this child yogi to Neri with faith.

After reading an ancient spiritual scripture on Bhojpatra in the Bhuteshwar temple there, he became a true world yogi according to the formula 'Hey Vishwa Yoga Iska'.

In the tribal community, he lit the torch as 'Dev Baba'. Neri's fakirs were convinced of the futility of mantratantradi tools. The nephews poisoned them, but they gave the world a 'happy death'! At the same time, Chimur was born 'Manik Prasadik Balsamaj' and in 1929, he published the first Hindi-Bhajanavali, Maharaj's 'Swanandamrit'.

Kashi-Prayag-Omkareshwar-Haridwar-Pushkar Raj-Pashupatinath (Nepal) etc. After seeing many distant and nearby pilgrimage sites as well as visiting many saints like Lashkari Baba, Vasisht Maharaj, Dadaji Dhuniwale etc., Maharaj observed the society from the very beginning and gave one-week, bhajan, knowledge discussion. He took the old tools and gave them to the coordinator but to the new Murad community with distinction.

Devotees, well-educated-uneducated, householders-hermits, various religious sects, etc., put 'Shrigurudev' at the forefront. Young in simple attire but intense spiritual brilliance, playing nursery rhymes but supernatural uplifting vision, innocent child humor and wonderful yoga experience, skill in playing horse-chakda, bicycle-motor etc. At the same time, a huge number of people are attracted by the extraordinary effective hymns and the knowledge discussion that amazes even the veteran Pandits. An unprecedented wave of consciousness spread through the society!

In the Satyagrahi camp at Vaidarbhiya Gondwana in 1930, 'What is the fear of false slavery?' Attempts to capture the Maharaja were unsuccessful due to the chanting of such a powerful national anthem. The first Chaturmas of Chimur in 1933 proved Maharaj's extraordinary management skills and revolutionary work. The Mahayagya of 1935 at Salbardi (Ta. Morshi, Dist. Amravati) became 'neither ghost nor future'. He brought the greatness of the Maharaja before India. Khadi Yari Maharaj rejuvenated this time by sacrificing irregularity along with tea and smoking. In the same year, to motivate the masses to work, Jyoti Bhurkan-Majhshit Shri Mulay Pala and his beloved servant] is Shri Mumareya Amas 15a. Shiratvadh San Sur Kali. Some Dreshmakmanira. Kangali bananas near Gadhaj 1536 Sani Tyaki B Maharaj's personality attracted this wool and burned for a month,

Nagthana and Gurukunj-Ashram took Chaturmasya training of the youth. Strike, go to Bharat Mewadal Kugnimia Institutions and wake up Balvir! Now it's your turn to mourn. In 1941, Maharaja Baton, an independent youth national education class for the youth, initiated thousands of people every day in his Pramathi Mal nationality. 'Trees and bushes will become words, devotees will become an army, stones will become a boy, life will become a shore'. Demonstration of Chimur-Ashti, while in the case of Kamal Tiej, the British imprisoned Maharaj in Nagpur and Raipur-jails for four months, but also barred him from entering Chandrapur and Wardha districts. The Aarti-prayers of the followers were resounding.

As soon as he came out of the jail, Maharaj revived the fearless masses without a leader by chanting 'Vishwashanti Namasaptah'. In 1943, Shrigurudev magazine was started to perpetuate the teachings of universal human insurance.

In Akola-Chaturmas, he created hundreds of 'Pracharaks' and revived the disintegrated Aartimandal branches under the name 'Shrigurudev Sevamandal'. Along with village level publicity training, effective wave of activities like rural industry class, exercise class, Ayurveda class, women's class, Ramdhun, Samu Prarthana, Panchmahotsav, Yatra Nuddhai, sacrifice ban, addiction eradication, cow protection, marriage reform, banquet, wrestling competition, bhajan competition etc. were created. - Taluka-district-province offices were opened and a competent chain of preachers was formed.

In 1945, 'Akhil Maharashtra Physical Education Council' was formed and Nagpur Akhada organization did a difficult job. In 1946, a wave of temple-entry was started from the Varkhed temple and the British were given a boost by awakening humanity in the people during the drought. "Looking at India, it is difficult to extinguish the fire. Raising the tricolor donation chest, now it is difficult to entertain."

Along with the message of transforming the Swarajya gained in 1947 into 'Surajya', Maharaj carried out all such programs with great enthusiasm. Seva Saptah, Swachhta Saptah, Swavalamban Saptah, Navnirman Saptah, Rashtriya Ekatmata Saptah, Shramdan Yajna, Janajagruti Samayadanayagya, Rashtradharma Janajagruti, Prachar-Yatra, Gramnirmanparva etc. are the names that suggest their direction. Due to M. Gandhiji's Nirvana, the attention of the leaders of the nation turned to Maharaj. At the 1948 meeting of local and foreign peace envoys at Sevagram, the leaders of Delhi invited these national saints and expanded their scope of work. Maharashtrian Merchant Conference, A.B. Rashtrabhasha Prachar Sammelan, Sarvodaya Sammelan, A.B. Seva Sangh Sammelan, A.B. MLA Karyakarta Sammelan, Bhudan Sammelan, Samajsevi Sammelan, Vidarbha Sahitya Sammelan, A.B. Hundreds of conventions like Nashabandi Sammelan, Harijan Sammelan, Bharat Sevak Samaj Sammelan were celebrated by Maharaj with his effective guidance. Vedanta Parishad in Punjab, Nagpur Maharashtra Mudran Parishad, Mahagai Parishad in Amravati and even Tamasha Parishad in Gondia were illuminated by his personality! Tribal Youth Training, Village Aid Training, Leprosy Prevention, Midwives, A.B. He gave shelter to Ayurveda Mahasammelan and other number schemes. Sikh Sammelan, Veershaiva Sammelan, Parsha Festival, Christian Festival of Governor Dr. Cherian, Muslim Festival of Awaliya Baba of Bhandara.

Hundreds of social, literary, educational, religious and other gatherings at various levels, he gave special guidance and gave shelter to innumerable schemes. Taking the huge constructive festival of Gandhi-Smriti Day to Nag-Vidarbha, Gondwan and Marathwada divisions, Maharaj raised an unprecedented wave of innovation; Even the Union Minister was shocked to see that! In Indore, Kolhapur, Aundh, Jat etc., he gave strength to the pro-people nationalism. He took village classes on the border of Nizamstat and strengthened his strength against the Razakars. Aheri brought the tribals of the state closer. Punjab and all the lands from UP to Mysore were awakened by Maharaj's dagger; Gomantak also fascinated Nepal.

Rashtrasant Shritukdoji Maharaj, who was working hard to organize the Pandharpuri Sant-Sammelan, did the difficult work of forming the Bharat Sadhusamaj at the convention in Rishikesh even at the AB level.

Mahamandleshwar remained unopposed president. Vishwa Hindu Parishad meetings in Nashik, Prayam, Mysore, Nagpur, Assam, Madras, Pandharpur and Mumbai were also held with great attendance and guidance.

Conquered Shankaracharya and Mahant! In 1952, Maharaj was invited to the United States for the World Religions Conference. By accepting Japan's invitation in 1955, he stunned the 'World Religions and World Peace Councils'. There, the United States, England and other 18 countries unanimously appointed advisors to the committee. Invitations from Africa, Britain, Thailand, Malaysia, Burma, Vietnam and other countries kept coming.

But Sritukadoji Maharaj had strong work in India. In 1948, he relieved the Delhi refugee camp. He ran in every crisis like floods in Pune, floods in Vidarbha, Hindu-Muslim riots in Nagpur, Koyna earthquake. In 1962, Veerashri spread all over Assam and all over the country by promoting the Defense Fund and the Military School to repel the Chinese invasion on the northern border. In the Pakistani invasion of 1965, he visited the Lahore border and encouraged the army. 'I completed it when I saw it. According to the motto 'Jagacha Tol Bodhe Savari', he poured his life into the government's schemes of social education, family planning, drug ban etc. Sane Guruji's temple entrance, Vinobaji performed Bhudan Yajna, Gulzari Lal Nanda Kancha Bharat Sevak Samaj and Pandit Jawaharlalji's 'National Integration Committee'. Their range is fantastic!

Therefore, 11,410 acres of land was acquired in 11 days. In one day, temples of 10-10 villages were opened for Harijans. Even in a fever of 103 degrees, he traveled 1,500 miles. He commemorated 100 villages on the occasion of Gandhi-Smriti and on the occasion of 2500th birth anniversary of Buddha, he paid homage to Lord Buddha by constructing dams, latrines, roads, houses of the poor, drainage ditches etc. in 100 villages. Motivating those who want to celebrate their birthday for 'Gram Jayanti', he performed the Sutra Yajna of five hundred Charkhas in front of the President. During his busy journey, he published about 50-60 Hindi-Marathi prose-verse books and some of them remained unpublished.

The Rashtrasanthas, who were brandishing daggers from Bhangi-Kuti to Rashtrapati Bhavan, shouted at the Rashtrapurushas that the rule has deteriorated. M.Gandhiji, Mahamana Malviya, Lal Bahadur Shastri, Pandit Nehru, President Dr. Rajendra Prasad, Dr. Sir Radhakrishnan, Dr. C.D. Deshmukh, Shikshan Maharshi Dr. Punjabrao Deshmukh, Indira Gandhi, Khan Abdul Gaffar Khan, Acharya Vinoba Bhave, Dr. Keshav Hedgewar, Pu. Golwalkar Guruji, Sreesanth Gadge Baba, HBP Dhunda Maharaj Degalurkar, Vaishnavagrani Sonopant Dandekar, Acharya Dr. Aryanayakam, Acharya Kripalani, Swami Chinmayananda, Swami Satyananda, Saathi Jayaprakash Narayan, Bhai Dangi, Swatantryaveer Savarkar, Sh. Kirloskar, Pandit Shripad Satwalekar , Appasaheb Patwardhan, Sh. Apte, Dr. VV Kolte, Padmashree VS Khandekar, Acharya PK Atre, Shahu Modak, Ravishankar Shukla, Yogiraj Sitaramdasji, Mahamandleshwar Jayendrapuriji were honored by thousands of veterans from various fields There is no end to the invaluable work that we have done in a short period of time by creating an army from the soil. In the year 1968, despite the extreme pain, Maharaj continued to visit 'Rashtra Dharma Janajagruti'. Ujjaini completed the 'Gandhi Gitanjali' at the workers' convention and the camp of representatives of 16 states at Gurukunj. After reciting the last hymn of Ashadhi to the God-court of Pandhari and laying the foundation of a human temple in Gurukunj, Lokagrahastava went to 'Bombay Hospital' for treatment. He wrote a comprehensive article for the nation from his bed and reached Gurukunj by giving 'art message' to the devotees! In Mumbai and Gurukunj, thousands of famous people from various fields and millions of visitors came. Prayers were heard from millions of throats.

How terrible are the pains of cancer! Therefore, he persuaded the workers to build a 'Cancer Hospital' in a central place like Nagpur.

A huge stormy life of Mrityunjaya. As soon as he took a break with the resolution 'I too will die and go', innumerable leaders, ministers, institutions, newspapers, mahants and Dharmapanths paid their condolences! This time

"Futlase paat of the built pond. Ogh bara wat, murdatati .. Harinivin khopi padiyeli os. Dashdisha padas, pramatati .." (Sant Namdev) It is natural for such followers to be in this state! But the venerable Rashtrasantha said, 'Gram Gita is my heart. Sadgururai, who sat in it, has given the immortal treasure of 'Gram Gite' to all! His entire biography is available in 1 to 11 volumes of the book 'Jivanyogi Rashtrasant'.

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Changes in Marathi poetry after independence...

It is a well-known opinion that a radical change took place around Marathi poetry around 1945, known as 'Navakavita'. Similarly, during the 1960's, another change took place in Marathi neo-poetry.

This transformation is the second stage of Marathi new poetry, it is also a generally accepted opinion. Therefore, the period of the first part of the representative collection 'Post-Independence Marathi Poetry' is roughly taken as 1945-60. Of course, it is difficult to pinpoint any period in literary history. This is also true of this period of Marathi poetry. Therefore, it is inevitable to go back a little while looking at the representative nature of poetry in this particular period. B.C.Madhekar's book 'Mahatmta' was published in 1941.

He diagnosed modern Marathi literature in such a paradoxical way that 'Marathi literature is so obscure that it is not completely obscure'. Not only because of his medicine, but also because of the changing socio-cultural realities and the internal rate of literary tradition, during 1945, attempts were being made to find new directions and create new traditions in Marathi literature as a whole. Meanwhile, magazines like 'Abhiruchi' (1943) and 'Satyakatha' (1945) were published which published new literature. This is not just a coincidence. Meanwhile, the influence of Ravi Kiran Mandal, Phadke-Khandekar Prabhruthi writer was waning. There was an urge to create something new in different genres. Writers like Gangadhar Gadgil were trying to do something different from the roots in this genre. Some new efforts were also being made in the field of novels. Fine writing was slowly taking the place of short essays. Mardhekar treated modern Marathi literature harshly and also wrote new types of poetry. His new poetry not only gave a different direction to the genre of poetry, but also to the freedom of the contemporary literature as a whole,created an atmosphere of experimentation. That is why Marnekar created 'sense of Freedom' in the field of literature. The purpose of this prologue is to discuss the question as to why Marathi poetry underwent such a change around 1945, as well as to clarify the Marathi form of the period from 1945 to 1960. When there is a fundamental change in the meaning of the poem, between her and her language, the poetic change takes place, it can be said that the concept of poetry expands. Poetry transformation does not usually occur in one of the three elements of the poem. The change in one element affects the other elements as well, and in the end all three elements change to a greater or lesser extent. Any poetic change is related to the poetic tradition in that particular language, and this poetic tradition is an integral part of the literary tradition, the art tradition and the overall socio-cultural tradition in that language. So the transformation in poetry is ultimately related to all these things. This relationship, of course, is not one-to-one, it is complex. Here are some things to keep in mind when considering the changes that have taken place in Marathi poetry since 1945.

It is only on the background of modern Marathi poetry that the transformation that has taken place in post-1945 Marathi poetry can be interpreted, its nature can be explained. Therefore, what was the nature of modern Marathi poetry before 1945, what were the questions before it, can be briefly discussed. In understanding this form of Marathi poetry, it would be fruitful to explore the interrelationship between the poet and reality. Because of the nature of the relationship between the poet and reality, that is, how the poet responds to reality, how he relates to reality, how he interprets reality, the nature of the poetry of that period, alternatively the concept of poetry. In modern Marathi poetry, the understanding of the relationship between the poet and reality is changing at different stages. To present a changing understanding of this relationship is to write a history of poetry, a concept of poetry. From this point of view the next historical form is laid out.

Maharashtra came under British rule in the 19th century. After that, the values ​​and ideologies created in Europe by various institutions and institutions, such as justice and education, inevitably took root in the life here. This was the Enlightenment. In this ideology, worldliness and epistemology are central. These new values ​​were inculcated on a large scale mainly by the novices here.

Due to this new vision, life, its mental and physical structure changed. New ideas about life, new aspirations were created. Due to the contact of the spectators, cultural changes were taking place in different regions and levels affecting the local culture. Literature and poetry discovered through language are no exception. It would not be appropriate to describe this combination as a win-win situation.

This relationship is basically a modern, transformative vision and a traditional vision. Ishwarkendri, Paay: Spiritual-religious traditional medieval poetry was not compatible with these changing lifestyles. Therefore, it was inevitable to make the poem consistent with this new way of life. One more thing to note here. It is a class that mostly writes and reads from Keshavsutas to Makars

The servant belonged to the white class. Therefore, the changes in Marathi poetry from 1945-50 seem to be mainly related to the mental and physical changes of this class, their changing values ​​and aspirations.

Marathi poetry, which has a long tradition of about six hundred years, was stumbling in this period. This Marathi poem was first realized by Keshavsut. The issues facing Keshavsut were due to the cultural changes brought about by cultural contact and were mainly within the worldly framework. In this frame the person has priority. Therefore, the main question before him was how to make traditional God-centered, monologue poetry human-centered, multi-purpose.

In his poetry, we can see the details of how Keshavsutan had to struggle on different levels such as Ashayasutras, Kavitacha Ghat and the language of poetry while creating a new concept of anthropocentric, multi-purpose poetry in Marathi. The tension between the old and the new in Keshavsuta's poetry can be said to be a form of this struggle.

This new poem by Keshavsutan was a symbol of European Romanticism. The autonomy of man in rheumatism; The unity of man, nature and the universe; An idealized integrated picture of life; Belief in values; Things like the attraction of the unknown are central.

These ideas have been invented in different ways in modern Marathi poetry. Since romanticism is associated with cosmopolitanism, it is natural to feel close to the Indian mind, which is obsessed with the past. In the European context, there is, in some respects, a relationship of tension and antagonism between the ideology of awakening and romanticism. Man's autonomy is destroyed in the intellectual, scientific system of enlightenment.

Romanticism opposes this. But liberal humanism is the link between the two. On the contrary, since we do not have a tradition of science in our situation, to welcome this new knowledge, to embrace it more and more there seems to be a passion. Therefore, in modern Marathi poetry, there is no contradiction between the intellectual system and romanticism. It can be said that Marathi art was a different form of romanticism.

Many have suggested that Keshavsuta's poetry was heavily influenced by English Romantic poetry, liberal humanism, and in some cases by Enlightenment. This vision, this cosmopolitanism was completely new to Marathi poetry. There are some fundamental differences between the humanistic vision of Marathi saints and the humanistic vision created in the modern world. The humanistic vision of the saints is not anthropocentric. It is God-centered or past-centered. From the point of view of saint poets, this world is in fact an invention of Parabrahma. Beyond that there is some independent social reality, the idea is not here.

Keshavsuta's new vision of rheumatism made it possible for Keshavsut to invent a variety of themes in his poetry. 'Freedom' is an important principle of romanticism. The concept of 'freedom' made it possible to express the autonomy of art and artists as well as the autonomy of the individual.

Keshavsuta has expressed the freedom of self-discovery in many of his poetic poems. He seems to have rewarded the autonomy of the individual by rejecting norms and traditions in poems like 'Tutari' and 'Nawa Shipai'. The poem explores many themes such as 'human creativity and its power', 'genius', 'heavenlyness', 'man's loneliness', 'divinity, obsession with the unknown', 'love', 'death'. It was not possible to invent such diverse, multi-faceted themes due to the specific way of life she adopted for medieval Marathi poetry.

Keshavsut and his contemporaries have expressed great faith in human creativity. The idea behind this is that the poet can change this world, this reality, can shape it. In fact, it is 'prose', it should be given the form of a dream, an ideal, a paradise, this poet thought to himself. These poets are jealous of giving such a form. The poet has the ability to hold the reality as well as the integrated, ideal form. There is no contradiction between man, nature and the universe. Rarely does nature ever feel 'ungrateful', but it is basically human-oriented, supportive of human aspirations, arousing its emotions. Nature has become one with man. It is a romantic idea of ​​the relationship between the poet and reality. This notion of poet-reality relationship seems to have survived to this day in Marathi poetry in different forms, taking different turns. Poetry seems to have been destined for it.


This stream of romanticism created by Keshavsuta was the main stream of Marathi poetry till Madhekar. A second stream of poetry of Bhara Tambe Prabhruti is shown in Marathi poetry. But the flow of the Keshavsut turn poetry, as effective and expansive as it seems, cannot be said of this flow. Moreover, the influence of Romanticism on the poetry of other poets, including the copper in this stream, is more or less the same. Since the flow of Keshavsuta's turn of poetry is the main one, it can be said that Marathi poetry is more attracted to new perceptions, new values, new content. Poetry from the period of Keshavsuta has a special suffix. In this poem, different parts of Keshavsut's romanticism seem to be effective. In Rey Tilak, the themes of humanism and romanticism in Romanticism, love and loneliness in Govidagraja, autonomy of nature and indifference in Balkavi seem to be effective. Keshavsutan's multi-faceted poem is the origin of this poem. The overwhelming belief in human creativity is expressed in different ways in this poem.

Not all of these poets have the same good poetry. Although not as passionate and intense as Keshavsutan, all these poets have expressed dissatisfaction with the traditional social norms and values. It underscores his new, humanitarian vision.

Although the class writing this poem is a working white class, the vision of this poem is not limited to this class. It is a poem that seeks to appeal to society as a whole. This is the invention of individualistic, liberal humanism. It is seen that a different, multi-purpose poem was created in Marathi during this period than the traditional medieval Marathi poetry. The credit for this transformation goes to Keshavsut.

Curious attitude of knowing the new world up to the 1920s, of establishing relations with it in various ways, such as co-ordinating opposition, does not seem to have survived. The number of people who spread knowledge in different ways, cultivate knowledge, play a specific role, strive for the goal and work tirelessly for it, is not seen in the next period in such a large number. The attitude of the white-collar workers of earlier times was not merely subsistence-oriented. He felt that we had a special role to play in shaping a new society with knowledge. Therefore, he sincerely felt that his life was to spread new knowledge and values. After this, however, this vision and feeling does not seem to remain. The white supremacist class, which has no role in the formation of society, is only a subsistence worker. Naturally, the passion that comes with this feeling, the flame also faded during this period. After the death of Tilak, Gandhi leaderships emerged at the national level and we are the controllers of this nation, the identity of this Marathi man was severely shaken. A generally accepted theory that he became delusional, and that he turned away from politics and sociology, is used in this context. This, of course, is not the only reason. Due to the various movements of the Bahujan Samaj, the upliftment of this class due to the spread of education, we have the rotation of the society. The perception of this white supremacist has been severely shaken. After this, Maharashtra seems to have lagged behind in all cultural spheres.

The field of literature and poetry is no exception. After the death of Govidagraj, Balakavi, the Yuyutsu attitude of looking for a new share in the early days of modern Marathi poetry did not remain. The period from 1920 to 1945 is generally considered to be the earliest period in terms of literature. Urmi seems to be an exception in the field of poetry as well. The notion that the poet can change the world, the reality, is not seen here. There is no attempt to create a new reality by denying reality. On the contrary, it is an attempt to move away from reality, to create an artificial, imaginary world. This can be called artificial romanticism. The vision of the writing class became limited to the working white class. The consciousness of the whole society, the vision of appealing to it is not seen in the poetry of this period. Wide roles like Keshavsutan's 'Nawa Shipai', 'Tutari' are not found here.

The poet of this period seems to have turned his back on the fact that we have a united family, its responsibilities, the increasing spread of education and the questions that arise from it, the growth of cities, the increasing industrialization in them, the questions that arise. On the other hand, this poem seems to be involved in questions that are not ours.

This particular perception of the poet-reality interrelationship made her look essentially dreamy. Her ghat became Ranjanpar. Although this poem is mainly under the influence of romanticism, its emphasis seems to be more on specific themes due to the formula of Ranjana, hedonism. Especially in the social background of this period, which has not much support, such a feeling of love was invented through this poem. Therefore, his nature was not a genuine and fluid invention of the actual experience of love.

The dreamlike, often abstract paintings of love were expressed in these poems. The same thing is more or less the case with other contexts. The spirit of social rebellion began to be expressed in a more interesting way, or the rural experience began to be portrayed in a more interesting way. Individualist, liberal humanism, meaning hedonism, became paradoxical, narrowed.


This is the socio-cultural and literary background of the changes that took place around 1945 in Marathi literature, especially in poetry and fiction. Prabodhan had a great impact on Indian social life in the pre-independence period. This is the age of Indian Enlightenment. The belief here is that a person can lead a successful life if he shapes his personal and social life with the help of humanitarian values ​​like science and freedom. Although this awakening has taken different forms at different stages, the vision behind it is broadly that of human liberation. Here is a coherent picture of life; There is a certain achievement. It can be said that this is the effect of 'one voice', one point of view. In the pre-independence period, it was dominated by the white working class. No matter how complicated the post-independence situation may have been, many classes, including Dalits, villagers and women, have been involved in the process of transformation, but the idea of ​​emancipation is still prevalent here. This picture is also seen in today's Marathi poetry. From Keshavsuta's idea of ​​ascension to Kusumagraj's 'Columbus's Pride Song', Narayan Surve's

This picture seems to be effective up to 'Jahirnama' and Namdev Dhasala's poem 'Mansane'. Therefore, from the very beginning, an important stream of modern Marathi poetry has remained the romantic, liberal humanist. Around 1945, this liberal humanist vision gained a form of Marxist vision in the form of poetry by Sharachandra Muktibodha and later by Narayan Surva. But this Marxist vision is basically an invention of enlightenment.

An important stage of the Renaissance in Europe is the Enlightenment. Wisdom and intellectual science are at the center of this thinking. There was a strong belief in the idea that with intellect, science, man would have knowledge of himself, nature and the universe, and therefore would be free from all kinds of constraints. It was believed that science would also be able to overcome the lack of all kinds of tools that make man miserable. In this sense, Prabodhan is a project of human liberation.

But unfortunately there were many contradictions in this project itself. In fact, science, the technology created from it, was a means of liberating man. But it also became a means of dominating man, of his oppression. Science has created huge weapons of mass destruction. The industrialization of the late 19th century and the beginning of the 20th century, the capitalist system, the growing cities were also the inevitable culmination of this strategy. Due to industrialization, the subatta created by the new capitalist system belonged to a certain class.Of others poverty, starvation, and extortion were commonplace. Cities grew, but so did the name Bakal colony. It is true that on the one hand the individual became independent in the new production process, but in the crowds of the city she did not leave her own face. Her existence became insignificant, meaningless. In this new system many integrated societies fell from Kollam.

Problems like dehumanization, paranoia arose. One reaction to all this was Marxism, the other was modernism. Marxism is the offspring of enlightenment. Because he suggests some basic improvements to the project. From the point of view of modernists, Prabodhan was a failed project.

The idea of ​​a sure, integrated vision of life in the strategy of enlightenment; At the same center, in the formula, of course, modernists rejected the vision of looking at the world unequivocally. The reason for this was that they were experiencing an uncertain, unstable and disintegrated reality or existence. So ambiguity was replaced by ambiguity. There is no center left in life. There was a sense of loss of center. It became impossible to look at the world from a single center, point of view. One sound was replaced by several sounds. Multidimensionalism and relativism became the basis of modernist epistemology.

Nietzsche's philosophy, Freud's theory of individual and collective neuralism, and James Fraser's anthropological research all confirmed modernist understanding. Modernism has dealt a huge blow to traditional socio-ethical values, art and all aspects of life as a whole. Such pushes, denials, skepticism, rebellion became an important feature of this argument.

Beliefs of all kinds, at all levels and in all areas, were rejected by modernism. Enthusiasm, loyalty, optimism had no place in the horrible, inhuman, distorted picture of life that they saw. This understanding of the reality of modernists has become the foundation of their art literature.
Considering the five to ten years leading up to the pre-independence period, the personal and collective life of the working white class in Maharashtra seems to be changing rapidly around 1940. Of course, the intensity of this change was mainly in the city. The 'one voice' that appeared in the pre-independence Marathi society was misleading in some respects. Because it was during this period of enlightenment that the 'many voices' of the oppressed, oppressed workers, farmers, dalits and women, who were basically humanists, were slowly emerging. The intensifying Indian independence movement, the growing labor movement and struggles. Dr. The growing Dalit emancipation movement under Ambedkar's leadership was changing the way self-absorbed white workers looked at their lives.
Freud, Russell, who pushed liberal humanism in the field of knowledge, stumbled upon a new way of thinking. The philosophy of Marx, Freud and Russell

Being acquainted, this class needed to re-examine many of our traditional ideas, beliefs, children. For example, individual freedom, masculinity, sexuality, etc. As a result, the idea of ​​a single, unified life began to falter. The growing cities in the process of industrialization of this period began to shake the values ​​of the class family together, and the way of life that followed it. The growing spread of education, the growing number of women earning money has led to new problems and tensions. The disintegration and inhumanity of the Second World War was also indirectly understood.

Its effects were felt in the form of rationing and other shortages. The inhuman picture of the partition and the violent riots that followed it was close. The white working class here was stunned by the many voices on these different levels, the many attitudes, the changing values ​​and the material conditions.

In summary, all of this was changing the social and personal reality of the place. It was a situation that disturbed the rhythm of traditional life, creating confusion, tension. This situation revealed the limits of humanitarian vision. This situation has given birth to neo-poetry. In a different sense, it can be said that a form of solitary whitewashing is white poetry. It is natural for some sensible people who experience such a confused, disintegrated social reality to like the modernist understanding of Western art. This phenomenon can be seen as another example of the changes brought about by cultural contact.

Modernist views have radically and radically changed ideas about the interrelationship between the poet and reality. There is no unified reality here. On the contrary, there is skepticism about the reality. The reality at the front is that it is fragmented, scattered, disintegrated. They are not human-oriented, human-oriented. On the contrary, it is incoherent, irrelevant. By accepting this form of reality, the ideas of shaping reality, giving it an ideal place have no place here. There is no such thing as reflecting or imagining reality, commenting on reality. In fact, there is not a single definite, stable idea of ​​a poet-real relationship. Many ideas about reality seem to have been formed. There seems to be a perception that the realities in the inventions of intuition, free association, the realities in the imaginary, should be invented through art, since they are real. The second idea is that the poet should reject external reality and create a new, parallel reality in poetry. New ideas have been created as to whether the poet should abstract or distort reality. Due to these different ideas of poet-reality relationship, post-independence Marathi the form of poetry has changed drastically.

Mardhekar's poetry has given the first romantic and humanitarian push in the Marathi poetry of the post-independence period. The pictures of many meaningful lives, of human liberation seen from Keshavsutas, are not Madhekar's poems. Mardekar's poetry denies the two world wars in Europe, the Partition riots, the growing metropolis and its humanization, and in fact romantic optimism, sentimentality, and unity. But this denial is not self-evident. The 'living Tagamag' in Mardhekar underscores their minimal human relationship.

Considering the historical context in which Marathi poetry came into contact with modernism, it is only a faint imitation of European modernism. That cannot be said. Many Marathi poets have been inculcated with different forms of modernism. It also makes sense that this rite should take place in a particular period. This led to an influential trend known as 'Navakavita'. However, not all poems in neo-poetry are modernist. Most of the poetry in this stream of Pant seems to have invented some part of modernism. There is one more thing to keep in mind. That is, this modernist poem in Marathi has been created mainly in a metropolis like Mumbai.

Modernist poetry can be said to be a turning point in Marathi poetry. But this turn is very effective, no doubt. This turn not only led to the writing of new, modernist poetry, but also greatly changed the nature of poetry in the romantic-humanist tradition. She has given a different look to the entire Marathi poetry.

There are roughly three streams of Marathi poetry from 1945 to 1960. The three streams are the flow of individual poetry, the flow of group poetry and the flow of aesthetic poetry. Of course, these three streams are not airtight compartments. Although the poems of some poets are originally from one particular stream, sometimes they appear to have written poems from other streams. B. C. Makar's poem is a poem in the subjective stream. This flow is particularly effective during this period. Modernism has greatly influenced the poets of this stream. Sharachandra Muktibodha's poem represents the group-oriented stream, while Puji Rege's poem represents the aesthetic stream. Although all three of these poets were influential poets of the period, Mardhekar's poetry created an important, mainstream flow, just as it did in the case of other poets can't show. Poetry from other streams seems to be relatively less effective. In fact, Mardhekar's persona Lakshmi Kavita, i.e. the broader meaning of modernist poetry, has also had a significant impact on poetry in these other streams.

It should be noted here that the fact that the flow of subjective modernist poetry is main and effective during this period does not mean that it is more prevalent in the total poetry of the time. In contrast, the proportion of poetry in the romantic, humanist tradition is much higher than in modernist poetry. But even this poem has changed in different ways under the influence of modernist poetry.

Modernist understanding has radically changed the nature of Marathi poetry. There is no center of human life like God or intellect, the center has fallen apart, and so the whole existence has become irrelevant, ambiguous, this consciousness is the core of modernism. The epistemology of modernism, multidimensionalism and relativism, is an inevitable consequence. Here all livelihoods are denied. In this view the reality before the poet is ambiguous, disjointed; It is centerless. Due to this new vision, the meaning, motto, language and form of Marathi poetry have all changed.

The realization that the center has fallen away makes man orphaned and helpless in the entire universe. Its existence becomes irrelevant, meaningless, insignificant. The new poems from Madhekar seem to have been influenced by the themes of incoherence, futility, human orphanhood, loneliness of human existence. The idea of ​​shaping reality was dropped because there was no unified reality in front. The prevailing mechanical system is also rejected in modernism as opposed to the intellect and the rational system. Therefore, some of the themes such as dehumanization, dehumanization, transcendence, disintegration of existence, lack of communication have appeared in Marathi novels. The internal reality became important because the external reality, which is an invention of the intellect, was opposed in this argument. Naturally, there were some issues related to intuition. For example, disintegration of personality, fragmentation, etc. Awareness of the ambiguity of human existence, man's helplessness, insignificance seems to have become an inevitable part of modern Marathi poetic sensitivity.

There seem to be three ways of reacting to this opposite situation of man in Marathi novels. The first reaction to this situation is one of solitude. It is mainly seen in the poems of Madhekar and Vinda Karandikar. The second reaction is to irony the situation. This appears to be more common after 1960 than during this period.

This has sometimes led to self-criticism. This tendency is widely seen in the poetry of Sadanand Rege and Arun Kolatkar. The third reaction is that the situation is inevitable, realizing that she is quietly accepting it. This reaction is rarely seen during this period. In later times, however, this tendency is seen to a large extent in the poems of Dilip Chitre and Vilas Sarang.  

Due to the specific content, due to the specific sensitivity, a fundamental change took place in the way the Marathi poet expressed his experience. Experience neutrality, taking age became important in this poem. Therefore, new emotional tones came into the poem. Emotional bitterness, harshness, coldness, insignificance, these tones appear predominantly in Mardhekar and later modernist poets. For example, the tone of emotional bitterness in Makar's poetry or the contemptuous tone of Sadanand Rege or the cold neutrality of Kolatkar in later times. The philosophy of ambiguity in modernism has given rise to a great deal of poetic awareness in neo-poetry.

These are the real-unreal, intellect-feelings, freedom-rules, body-mind, knowledge-ignorance, truth-untruth, sin-virtue. For example, in Makar's poetry, 'Jatajnatachi test', 'Mansh-amash khech' is full. This perplexing awareness pierces the definite, unified vision of life.

Experimentation at different levels is an important feature of modernism. Modern controversy seems to have created more awareness in Marathi about the autonomous existence of poetry as well as its morphology. The urge to experiment with the language and form of poetry is evident in post-independence poetry. It also has its roots in modernism. The importance of image in post-independence poetry and the predominance of pure poetry is also related to modernism.

Decentralization, ambiguity, irrationality are not the only meanings of modernist poetry. These things occupy the linguistic space of modernist poetry and have created new principles or techniques for the formation of poetry. Therefore, the traditional ideas about poetic word keys, about poetic form have been shaken.

Navakavita has done many experiments at the linguistic level to reveal his specific experiences, perceptions. It has an effect on different levels of language, word choice, hierarchy, sentence and line breaks. This poet, who seeks to deny any other faith, has a great deal of faith in the power of words. There is more awareness about poetic language during this period. One is that many traditional notions of poetic vocabulary have been greatly shaken by Madhekar and the novices in his tradition.

This is especially true of word experiments related to sexuality. Sometimes this type of gender reader word has also been used for the purpose of pushing the experiment. Whatever the purpose, it is important to note that a variety of poetic words were considered to be external, trying to bring the wording into the realm of poetry. A different, new vocabulary of poetry was happening through them.

The novice broke down a great deal at different levels of the language. They created completely unique forms of words. This is more evident in the poems of Makar and Puji Rege. Mardhekar gained a great deal of freedom in the hierarchy of Marathi poetry at the beginning of his new poetry. In many later poets, this freedom seems to have reached its peak. Marathi novices have resorted to a large number of images, symbols, myths to realize the more complex, intricate experience, to see the reality related to the intuition. New images of hybrids of different sensations began to appear in the poetry of this period. In fact, poetry is an association of images, poetry cannot exist without images, and images are inevitably sensory, such perceptions were formed during this period. The linguistic space of poetry began to be filled with new symbols compatible with modern life and with a variety of myths.

Various experiments of linguistic rhythm have also been done in the novel. Freestyle has been widely adopted to avoid the integration, confinement that arises from traditional hobbies, news. In Makar East Marathi poetry, we cannot show such diverse experimentation on different levels of language. These experiments were performed by novice poets, but poets from the romantic and humanist traditions have also performed some of these experiments on different levels.

Due to the radical change of modernist intentions, the techniques and principles of composition and construction of Marathi poetry also changed to a great extent. Traditional logical or causal association is rejected by this new poem. This poem basically seeks refuge in an irrational ghat. As a result, it became more and more complex and often obscure. In fact, obscurity became a principle in the construction of poetry. This ambiguity is related to the ambiguity created by multi-point theory and relativism. Due to the ambiguity of existence, irrelevance, childishness, insignificance, the elements of construction, such as irony, opposition, contradiction, contradiction, tension, have become important in new poems. The principle of tension here is different from the principle of traditional tension. It can be called the opposite stress. At the same time, structural principles such as proximity, contextualization, distortion, immortalization have been adopted by the new poets. Newcomers have also adopted some of the self-inspired writing systems created by surrealists, such as free association-ideas.

Many poets seem to have been influenced by modernist themes, linguistic metaphors and anatomy. It also includes traditional humanist poets. The language and ghats of his poetry were also greatly influenced by modernism.

For example, the vocabulary of poets like Kusumagraj also changed. In this sense, Makar North has revealed different aspects of modernism in many poets. For example poets with communist vision like Sharachandra Muktibodhan. Muktibodhan has used spontaneous writing style in his poems.

When Marathi poets accept modernist worldview, it is not as it is. He also reorganized modernism to suit its surroundings and life. Mardhekar, while accepting the modernist worldview, also connected with the saints in different ways. The Ovi-Abhang composition used by the saint poets, their vocabulary, their word experiments are often used by them to reverse. It was a cultural shock in a sense. He has pitted the worldview of saints and modernist worldview against each other. By associating this kind of relationship with the saints, he has more effectively expressed the modernist intent. Of course, there are similarities between Sant and Mardekar in some respects. The warmth of the saints, their uneasiness is also seen in Mardhekar in the form of 'Jivant Tagamag'. Modernism is a form of adapting to one's surroundings. Vinda Karandikar, Madhukar K's Prabhruti Kavini is also seen trying to connect this kind of relationship in his works.

The overall picture of poetry in this period is diverse. This diversity can be seen on all levels of content, language and form of poetry. This diversity is significant not only in comparison to earlier times, but also in the history of Marathi poetry as a whole. The source of this diversity lies primarily in the new vision of life and poetic vision; That is, in the changed understanding of the interrelationship between the poet and reality.

Even if we divide the poetry of this particular period into three gross streams, it does not mean that the poetry in each stream is in the same mold. In fact, in each of these streams we get to see poets of different natures. The poet in each stream appears to be more or less different in terms of poetic language, poetic language and form of poetry. B.S. Madhekar, who created a stream of new poetry in Marathi by expressing an experimental vision of modernist themes and poetic language, poetic form, Pushi Rege, who created an independent world of poetry with his unique style of poetry, and Sharachandra Muktibodh, who painted a picture of future society with a definite transformational vision. In time L size is poetic times.

The variety of poetry in this period has been invented on different levels. We have seen in the previous section how the linguistic and morphological diversity of this poem is reflected. This poem is more meaningful than the previous ones.


The diversity is much greater. The poem depicts the various stages of individual and collective human existence. The biography in this poem covers a wide range from extreme person-centered to group-centric. For example, Indira Sant's person-centered poem at one end, while Muktibodh at the other end, Amar Sheikh Prabhutri's group-centered or group-oriented poem. Due to the influence of modernism, we have come across many concepts such as loneliness, alienation, childishness, futility, incoherence, uncertainty, ambiguity, personality loss, fragmentation, disintegration, fear, death in the context of cosmology and modern machine culture. Many of the best poems depicting this type of content have easily gained a metaphysical dimension. Due to the influence of modernism, the invention of intuition, intuition and sexuality has also become more prevalent in the poetry of this period.

The dark side of human existence is expressed by modernist motives. Therefore, the meaning of the poem was in danger of becoming monotonous. But there is also a large amount of poetry in the romantic, humanitarian tradition during this period. Of course, it is not as effective as neo-poetry, and secondly, it is also refined by neo-poetry. These poems are a humanistic approach to individual and collective life, its problems and inconsistencies. Loveless personal feelings, different social sensibilities are seen being discovered in this poem.

These include the expressions given by the poets to the feelings, experiences and questions in women's lives. Poetry of this period did not remain monotonous as the humanist motives were expressed in the poetry of this period along with the modernist mottos. Although Marxist vision is already present in Marathi poetry, it has taken a definite shape during this period. In aesthetic poetry, some fluid experiences such as love experience, beauty of nature have been invented from a different point of view. Although the poetry of this period is remarkably diverse in terms of poetic language, poetic content and poetic form, this does not mean that everything is albel in this period.

Remains of the symbolism of the Ravi Kiran Mandal are also present in the poetry of this period. In the same way, some different types of signs have been created in the novel. These signs are all about language, content and form. The tendency to use punctuation marks such as three dots and abbreviations to increase the emotionality and drama in poetry seems to have increased during this period. Navakavita created the view that no words in the language are forbidden in poetry. But even in this turning point, new vocabulary began to emerge. Poetry is made up of images, an idea we have seen to be effective during this period.This idea's influence shows the predominance of contemporary poetic images. So many poems are in the form of a chain of images. Many of these image arrangements are not even meaningful hybrids of sensations in many images. Most of the time, their appearance is like a mechanical matching sweater, which has brought a kind of simplicity in this process. This is because of the desire for images.

In the poetry of this period, some more Lakbi appear in special proportions. One of them is the awakening of objects. For example, the awakening of nature has been done in many poems for the manifestation of such experiences as love, gangar. This awareness is a healing factor. The principle of contradiction also appears mechanically in many poems. Most of the time, in the last one or two lines of the poem, it seems to have become a habit to create contradictions in the experience by twisting them. Some of the themes are also used artificially. For example, topics related to sexuality or the trade of Nenive. These poems have been written using rough metaphors or symbols to explain the trade of Nenive. Seeing such things, it is clear that the poetry of this period is not flawless. Of course, good poetry is rare in any age, just as it is in this age.

Another important limitation should be noted here. That is to say, the life experiences of the urban, white-collar working class are largely expressed in the poetry of this period. Beyond that, the invention of the field of experience is mainly due to the feeling of empathy. The depiction of workers, dalits, farmers or rural life during this period is basically from outside. The portrayal of this life as 'seen from within' is exceptional. This will be noticed even if we look at the language of poetry in various traditions of this period. So it has to be said that the diversity of this period is basically a diversity in the biography of a certain peripheral, white class.

The writings of the poets of this particular period are not limited to this period. Some of these poets started their writing earlier, and continue to do so later. For example, Anil, Baabhav Borkar, Kusumagraj. In the case of some poets, the picture seems to be that they generally started writing during this particular period and continued to do so later. For example, Sharachandra Muktibodh, Indira Sant, Vinda Karandikar, Shanta Shelke and many other poets.

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