Non-Dalit Autobiography in Marathi:
The autobiographical writing in Marathi Literature emerged with different structure, themes and dimensions in the 19th century. Lokhitwadi’s letters, Mahatma Phule’s writings, Mukta Salwe’s ‘complaint’, Chiplunkar’s essays and Lokmanya Bal Gangadhar Tilak’s speeches were autobiographical in tone. In this phase, preaching was the main impulse of their autobiographical literature. Those who lived an extra-ordinary life got the authority to explore their experiences in autobiographical tone. They ascribed certain morals to the society through such experiences. While exploring these experiences the authors romanticised themselves and the persons to whom they came in contact with. They have been self-imposed …show more content…
So that after some period if they were found by knowledgeable and apt person, they will be used for public welfare. There is no guarantee of body and no potential in me to work out the things according to the thoughts; God will bring the potential at His own time. Now the only potential is to depict the thoughts to memorise them; if not done so it will be the offence of God and society. God is the father of this Universal family; as He has conceived us in this family. Agonises of the animals and human beings could be abolished with our thoughts as per our intellect. If we could not deliver them in the contemporary period and let them perish with the temporal body, then it will be a big offence than the theft.’
After twenty years i.e. in 1888 Baba Padmanji composed autobiography Arunody where he depicted the spiritual struggle within him. His uncommon experiences of conversion to Christianity remained the theme of his autobiography.
In the first half of the 20th century near about thirty autobiographies were written by men and ten by women. Now the authors used to record their social contribution in their autobiographies. Dhondo Keshav Karve (1858-1962) has recounted his brave efforts in the cause of women’s upliftment in his autobiography Aatmaruta …show more content…
V. D. Ghate’s Divas Ase Hote (1961) provides a graph of the changing social atmosphere of Maharashtra along with his personal life.
Major Salvi’s autobiography Swadin Ki Daivadhin (1963) is straightforward and simple. A circus trainer, Damu Dhotre’s autobiography Wagh-Sinha Maze Sakhe Sobati (1969), Narayan Mahadik’s Kaidi No. 33467 (1974), Pralhad Anand Dhond’s Rapan (1979), Police Commissioner Shridhar Pradhan’s autobiography Kasotiche Kshan (1983) and Sitaram Menjoge’s autobiography Ahmi Postatil Manse (1985) describe life truthfully. They were neither writers nor stage-artists, take the readers into strange world and become interesting by sheer truthfulness and straight simple approach. Nanasaheb Chapekar’s Smritidhan (1965) is a plain, unattractive account of his life, quite suitable to his public image.
Comrade Dange’s Narakpuri Gavasali (1965) depicts his interesting personality. His well-readness in Sanskrit and Marathi literature, his deep study of Greek and British history and his fresh sense of humour make his writing attractive. Usha Dange, comrade Dange’s wife, depicts the delicate portrait of Dange and Sane Guruji in her autobiography Pan Aikatay Kon!
The autobiographical writing in Marathi Literature emerged with different structure, themes and dimensions in the 19th century. Lokhitwadi’s letters, Mahatma Phule’s writings, Mukta Salwe’s ‘complaint’, Chiplunkar’s essays and Lokmanya Bal Gangadhar Tilak’s speeches were autobiographical in tone. In this phase, preaching was the main impulse of their autobiographical literature. Those who lived an extra-ordinary life got the authority to explore their experiences in autobiographical tone. They ascribed certain morals to the society through such experiences. While exploring these experiences the authors romanticised themselves and the persons to whom they came in contact with. They have been self-imposed …show more content…
So that after some period if they were found by knowledgeable and apt person, they will be used for public welfare. There is no guarantee of body and no potential in me to work out the things according to the thoughts; God will bring the potential at His own time. Now the only potential is to depict the thoughts to memorise them; if not done so it will be the offence of God and society. God is the father of this Universal family; as He has conceived us in this family. Agonises of the animals and human beings could be abolished with our thoughts as per our intellect. If we could not deliver them in the contemporary period and let them perish with the temporal body, then it will be a big offence than the theft.’
After twenty years i.e. in 1888 Baba Padmanji composed autobiography Arunody where he depicted the spiritual struggle within him. His uncommon experiences of conversion to Christianity remained the theme of his autobiography.
In the first half of the 20th century near about thirty autobiographies were written by men and ten by women. Now the authors used to record their social contribution in their autobiographies. Dhondo Keshav Karve (1858-1962) has recounted his brave efforts in the cause of women’s upliftment in his autobiography Aatmaruta …show more content…
V. D. Ghate’s Divas Ase Hote (1961) provides a graph of the changing social atmosphere of Maharashtra along with his personal life.
Major Salvi’s autobiography Swadin Ki Daivadhin (1963) is straightforward and simple. A circus trainer, Damu Dhotre’s autobiography Wagh-Sinha Maze Sakhe Sobati (1969), Narayan Mahadik’s Kaidi No. 33467 (1974), Pralhad Anand Dhond’s Rapan (1979), Police Commissioner Shridhar Pradhan’s autobiography Kasotiche Kshan (1983) and Sitaram Menjoge’s autobiography Ahmi Postatil Manse (1985) describe life truthfully. They were neither writers nor stage-artists, take the readers into strange world and become interesting by sheer truthfulness and straight simple approach. Nanasaheb Chapekar’s Smritidhan (1965) is a plain, unattractive account of his life, quite suitable to his public image.
Comrade Dange’s Narakpuri Gavasali (1965) depicts his interesting personality. His well-readness in Sanskrit and Marathi literature, his deep study of Greek and British history and his fresh sense of humour make his writing attractive. Usha Dange, comrade Dange’s wife, depicts the delicate portrait of Dange and Sane Guruji in her autobiography Pan Aikatay Kon!