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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