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The early Marathi literature was mostly religious and philosophical in nature, [7] and was composed by the saint-poets belonging to Mahanubhava and Warkari sects. During the reign of the last three Yadava kings, a great deal of literature in verse and prose, on astrology, medicine, Puranas , Vedanta , kings and courtiers were created.
The Indian Classical languages, or the Śāstrīya Bhāṣā or the Dhrupadī Bhāṣā (Assamese, Bengali) or the Abhijāta Bhāṣā (Marathi) or the Cemmoḻi (Tamil), is an umbrella term for the languages of India having high antiquity, and valuable, original and distinct literary heritage. [1]
बोध’ is a male noun and a tatsama meaning "perception". [7] As far as the Marathi literature is concerned, Bāḷabōdha can be assumed to be composed of "bāḷa" meaning primary and "bōdha" meaning knowledge. So Marathi bāḷabōdha may be understood as the primary knowledge of Marathi language.
Bakhar is a form of historical narrative written in Marathi prose. Bakhars are one of the earliest genres of medieval Marathi literature. [1] More than 200 bakhars were written in the seventeenth to nineteenth centuries, the most important of them chronicling the deeds of the Maratha ruler Shivaji.
Bal Sitaram Mardhekar (1 December 1909 – 20 March 1956) was a Marathi writer who brought about a radical shift of sensibility in Marathi poetry. He was born in a town called Faizpur in the Khandesh region of Maharashtra. He was educated in Pune and London, and worked at All India Radio until his death.
1942 was a turning point in the career of Kusumagraj, as the father-figure of Marathi literature, Vishnu Sakharam Khandekar, published Kusumgraj's compilation of poetry, Vishakha (विशाखा) at his own expense, and in his preface describing Kusumagraj as a poet of humanity, wrote, "His words manifest the social discontent but retain ...
Shridhar's popularity is quite a phenomenon in Marathi literature. There were many Marathi poets before and after him, who had worked on mythological themes, Mahanubhava poets like Bhaskarabhatta, Borikar and Narendra, Eknath, Mukteshwara ( from whose version of Mahabharata Shridhara himself had borrowed liberally and literally), Raghunath ...
GA, who bought new strength and vitality to the Marathi short story, is admittedly the most distinguished exponent of that genre. A contemporary of Gangadhar Gadgil, Arvind Gokhale and Vyankatesh Madgulkar, he did not subscribe to the cause of modernism in literature. He charted his own separate course and cultivated new acuity and taste for a ...