Modernism in Marathi Literature: A New Poetic Sensibility

Modernism in Marathi literature found its most distinct expression in poetry during the mid-twentieth century. This movement marked a departure from romantic and traditional forms, embracing new themes, styles, and sensibilities shaped by global influences and India’s own social transformations.

B.S. Mardhekar: The Pioneer of Modernism

B.S. Mardhekar (1909–1956) is widely recognized as the originator of modernist trends in Marathi poetry. His early work, Shishiragama (1939), reflected the influence of Ravikiran Mandal and Balkavi Thombre. However, his second collection, Kahi Kavita (1947), radically altered The Tone of Marathi Poetry. In it, Mardhekar expressed irony, disillusionment, and the strangeness of human existence, themes that resonated with postwar European literature. Influenced by T.S. Eliot and Ezra Pound, his poetry introduced cynicism and fragmentation into Marathi verse.

Later, in Anakhi Kahi Kavita (1951), Mardhekar attempted to reconcile Western rationalism with the spiritual discourse of Indian saints. His precision of expression and rationalist approach marked a clear break from the romantic-humanist tradition, setting Marathi poetry on a new trajectory. Though his work did not create a direct tradition, it redefined the direction and form of Marathi poetry.

P.S. Rege: The Lyricist of Modernism

P.S. Rege (1910–1978) was another significant figure in modern Marathi poetry. Unlike Mardhekar, Rege focused on form, rhythm, lyricism, and sensual expression. His poetry carried a strong private element, often centered on themes of love and femininity. His collections such as Himaseka (1943), Dusara Pakshi (1966), Priyala (1972), and Suhrudgatha (1975) reveal his sustained exploration of lyrical beauty. Rege also contributed novels, essays, and plays, making him a versatile literary figure.

Govind V. Karandikar: Innovator of Form

Govind V. Karandikar (1918–2007) began his career influenced by earlier poets like Keshavsut and Madhav Julian but later drew inspiration from Mardhekar and Rege. His collections Mrudgandha (1954) and Dhrupada (1959) established him as an innovative poet who experimented with form and style, furthering the modernist spirit in Marathi literature.

Sharatchandra Muktibodh: Poetry of Social Commitment

Sharatchandra Muktibodh (1921–1984) infused modernist poetry with Marxist ideas and social consciousness. His first collection, Navi Malawat (1949), revealed his commitment to the working classes and concern for social justice. His later work, Yatrik (1957), critiqued middle-class pretensions and exposed societal contradictions. Muktibodh’s poetry was vivid, sensitive, and imaginative, often using fire as a recurring image symbolizing both destruction of oppression and the hope of renewal. His trilogy of novels Kshipra (1954), Haddapar, and Jan He Voltu Jethe explored the Quit India movement and the intellectual search for social transformation.

Vasant Bapat: The Voice of Patriotism

Vasant Bapat (1922–2002) brought patriotic fervor to modern Marathi poetry. His songs inspired youth during the Quit India movement. Collections such as Bijali (1952), Setu (1957), Akravi Disha (1962), and Sainya Chalale Pudhe (1965) reflect his sustained development as a poet. His works combined nationalism with lyrical beauty, making him a prominent voice of his generation.

Conclusion

Modernism in Marathi Literature, particularly poetry, represented a profound shift from romanticism and traditional devotional themes to new explorations of individuality, social justice, and existential concerns. Mardhekar’s pioneering efforts opened the door to experimentation, while poets like Rege, Karandikar, Muktibodh, and Bapat enriched the movement with diverse perspectives. Together, they transformed Marathi poetry into a dynamic medium that reflected both global influences and the unique socio-political realities of Maharashtra.