Educational and Cultural Developments - II | Maharashtra State PSC (MPSC): Preparation - MPSC (Maharastra) PDF Download

 Page 1


EDUCATIONAL AND CULTURAL
DEVELOPMENT-II
  
INTRODUCTION
 
:
The actual contribution of Maharashtra during the Maratha period
is yet to be ascertained. The later Peshwas and their administrators
were known to be patrons of fine arts and music. The names of Naro
Appaji Bhave and Balaji Pant as instrumentalists were welknown in
Maharashtra.  In later years Raja Ravi Varma a Keralite by birth settled
in Maharashtra and like the great vocal musician Alladia Khan identified
himself with the people of Maharashtra,
During the Maratha period the Performing Arts were limited to
Tamasha, Lalita, Gondhal and the Powadas.The folk dances and
the Dashavataras were staged on religious occasions.
the development of performing arts :
 Drama
The dramas were staged by English troupes who visited Bombay
after the British settled here to rule. Students from Elphinstone College
used to invite English actors to stage the famous English dramas.  This
inspired many to translate plays of Shakespear and stage them before
small groups in the beginning.
Page 2


EDUCATIONAL AND CULTURAL
DEVELOPMENT-II
  
INTRODUCTION
 
:
The actual contribution of Maharashtra during the Maratha period
is yet to be ascertained. The later Peshwas and their administrators
were known to be patrons of fine arts and music. The names of Naro
Appaji Bhave and Balaji Pant as instrumentalists were welknown in
Maharashtra.  In later years Raja Ravi Varma a Keralite by birth settled
in Maharashtra and like the great vocal musician Alladia Khan identified
himself with the people of Maharashtra,
During the Maratha period the Performing Arts were limited to
Tamasha, Lalita, Gondhal and the Powadas.The folk dances and
the Dashavataras were staged on religious occasions.
the development of performing arts :
 Drama
The dramas were staged by English troupes who visited Bombay
after the British settled here to rule. Students from Elphinstone College
used to invite English actors to stage the famous English dramas.  This
inspired many to translate plays of Shakespear and stage them before
small groups in the beginning.
It was only in 1880 that Annasaheb Kirloskar first staged the
musical drama ‘Shakuntal’. The Kriloskar Natak Mandali was the first
dramatic company to enlist the services of singing actors.  The great
actor and singer Bal Gandharva (Narayan rao Rajahamsa) was serving
in that company in the beginning.  Later on he started his own Gandharva
Natak Mandali.  Shankarrao Patkar and Deval founded ‘Aryodharak’
dramatic institution in 1880 and ‘Maharashtra Natak Mandali’ was
established in 1904.  Most of the dramatic company’s wanted to equip
themselves with the latest know-how about the theatre – the curtains,
scenes, musical instruments and wanted the  best talent to enrich their
troupe.
The great stage actors specialised in certain roles. Ganpatrao
Joshi as Hamlet and Ganpatrao Bhagvat as Keechak dominated the
stage. The other famous actors of the last decade of the 19th century
and the beginning of the 20th century were Ganpatrao Bodas,
Nanasaheb Phatak, Dinkar Kamanna Keshavrao Date and of course
Bal Gandharva. During the fifty years from 1880 onward the several
dramatic companies entertained the Maharshtrian audience with their
extraordinary skills in acting. Bal  Gandharva used to play female roles
and it is said that he used to set fashions to the ladies, such was his
success as an ‘Actress’.
The special type of music called the Natya Sangeet (Dramatic
Vocal music) was popularized by the great singing actors like Bal
Gandharva, Keshavrao Bhosle. Master Krishnarrao and Dinnath
Mangeshkar. They did not developed this form of Semi-classical vocal
music but also enriched the technique of the stage and improved the
accessory material like the scenes and the curtains, the dresses and
the make-up for the actors. They set new trends in staging the old dramas
and presented new dramas with social themes as tragedies and
comedies. The Marathi stage was a highly developed stage even in the
1920’s and today it ranks among the best in India.
 Motion Pictures
It is a well known fact that Dadasaheb Phalke was the pioneer in
the field of motion pictures in India. He staged ‘Raja Harishchandra’ as
the first motion picture in Marathi. He became famous overnight. His
second picture was ‘Bhasmasur Mohini’ and the third was ‘Savitri’. These
pictures were also shown in England and Phalke received recognition
from the Western film makers. Another great film producer of the time
was Baburao Painter of Kolhapur. His motion picture ‘Sairandhri’
became so popular that Lokmanya Tilak gave him the title of ‘Cine
Kesari’. In the later years Prabhat Motion Picture company created
Page 3


EDUCATIONAL AND CULTURAL
DEVELOPMENT-II
  
INTRODUCTION
 
:
The actual contribution of Maharashtra during the Maratha period
is yet to be ascertained. The later Peshwas and their administrators
were known to be patrons of fine arts and music. The names of Naro
Appaji Bhave and Balaji Pant as instrumentalists were welknown in
Maharashtra.  In later years Raja Ravi Varma a Keralite by birth settled
in Maharashtra and like the great vocal musician Alladia Khan identified
himself with the people of Maharashtra,
During the Maratha period the Performing Arts were limited to
Tamasha, Lalita, Gondhal and the Powadas.The folk dances and
the Dashavataras were staged on religious occasions.
the development of performing arts :
 Drama
The dramas were staged by English troupes who visited Bombay
after the British settled here to rule. Students from Elphinstone College
used to invite English actors to stage the famous English dramas.  This
inspired many to translate plays of Shakespear and stage them before
small groups in the beginning.
It was only in 1880 that Annasaheb Kirloskar first staged the
musical drama ‘Shakuntal’. The Kriloskar Natak Mandali was the first
dramatic company to enlist the services of singing actors.  The great
actor and singer Bal Gandharva (Narayan rao Rajahamsa) was serving
in that company in the beginning.  Later on he started his own Gandharva
Natak Mandali.  Shankarrao Patkar and Deval founded ‘Aryodharak’
dramatic institution in 1880 and ‘Maharashtra Natak Mandali’ was
established in 1904.  Most of the dramatic company’s wanted to equip
themselves with the latest know-how about the theatre – the curtains,
scenes, musical instruments and wanted the  best talent to enrich their
troupe.
The great stage actors specialised in certain roles. Ganpatrao
Joshi as Hamlet and Ganpatrao Bhagvat as Keechak dominated the
stage. The other famous actors of the last decade of the 19th century
and the beginning of the 20th century were Ganpatrao Bodas,
Nanasaheb Phatak, Dinkar Kamanna Keshavrao Date and of course
Bal Gandharva. During the fifty years from 1880 onward the several
dramatic companies entertained the Maharshtrian audience with their
extraordinary skills in acting. Bal  Gandharva used to play female roles
and it is said that he used to set fashions to the ladies, such was his
success as an ‘Actress’.
The special type of music called the Natya Sangeet (Dramatic
Vocal music) was popularized by the great singing actors like Bal
Gandharva, Keshavrao Bhosle. Master Krishnarrao and Dinnath
Mangeshkar. They did not developed this form of Semi-classical vocal
music but also enriched the technique of the stage and improved the
accessory material like the scenes and the curtains, the dresses and
the make-up for the actors. They set new trends in staging the old dramas
and presented new dramas with social themes as tragedies and
comedies. The Marathi stage was a highly developed stage even in the
1920’s and today it ranks among the best in India.
 Motion Pictures
It is a well known fact that Dadasaheb Phalke was the pioneer in
the field of motion pictures in India. He staged ‘Raja Harishchandra’ as
the first motion picture in Marathi. He became famous overnight. His
second picture was ‘Bhasmasur Mohini’ and the third was ‘Savitri’. These
pictures were also shown in England and Phalke received recognition
from the Western film makers. Another great film producer of the time
was Baburao Painter of Kolhapur. His motion picture ‘Sairandhri’
became so popular that Lokmanya Tilak gave him the title of ‘Cine
Kesari’. In the later years Prabhat Motion Picture company created
history in India. The present state of Marathi movies is miserable; a sort
of fall from the high position.
Classical Music - Vocal and Instrumental
Like the stage, and the movie pictures Maharashtra had done
pioneering work in popularising Hindustani Music. Those who brought
the Hindustani Music from the North and popularised it in the South were
many. The most outstanding among them were Pandit Balkrishnabuva
Ichalkaranjikar, Pandit Vishnu Digambar Paluskar, Pandit Vishnu
Narayan Bhatkhande, Pandit Bhaskarbuva Bakhle, Khansaheb Abdul
Karim Khan, Ramkrishna Buva Vaze and Alladia Khan. The pioneer of
Hindustani Music in Maharashtra was Balkrishnabuva Ichalkaranjikar.
The disciples of these master singers predominated in the later period.
Abdul Karim Khan was not only perfect in the technique of the vocal
music but with his melodious voice entertained the audience throughout
the country. Alladia Khan came to Maharashtra in 1893 and was a singer
at the court of Shahu Maharaj at Kolhapur. Abdul Karim Khan belonged
to the ‘Kirana Gharana’, both of them intensely loved Maharashtra and
the people of Maharashtra responded to their divine music magnificently .
It was not only in the vocal music that Maharashtra was leading the
nation but in instrumental music also. Govindrao T embe on Harmonium
and Ahmed Jan Tirkhwa on the Tabla were the foremost artists In
Maharashtra. In the 1920’s Maharashtra’s contribution to the composite
culture of the nation upto 1920 is simply spectacular.
THE
 
DEVELOPMENT
 
OF
 
PRESS
 
:
In lesson No. 2 we have referred to the pioneering work of Bal
Shastri Jambhekar and Bhau Mahajan in Marathl journalism. ‘Mumbal
Darpan’ and ‘Prabhakar’ were intended to propagate views on social
matters rather than reporting news from various quarters. These
periodicals in the first half of the 19th century wanted the people to imbibe
the spirit of enquiry and know more about modern science and the World.
After the second half ‘of the 19th Century there was a change in
the perspective.  They furnished information and provoked thinking on
current affairs. We shall mention the work of three periodicals —
Page 4


EDUCATIONAL AND CULTURAL
DEVELOPMENT-II
  
INTRODUCTION
 
:
The actual contribution of Maharashtra during the Maratha period
is yet to be ascertained. The later Peshwas and their administrators
were known to be patrons of fine arts and music. The names of Naro
Appaji Bhave and Balaji Pant as instrumentalists were welknown in
Maharashtra.  In later years Raja Ravi Varma a Keralite by birth settled
in Maharashtra and like the great vocal musician Alladia Khan identified
himself with the people of Maharashtra,
During the Maratha period the Performing Arts were limited to
Tamasha, Lalita, Gondhal and the Powadas.The folk dances and
the Dashavataras were staged on religious occasions.
the development of performing arts :
 Drama
The dramas were staged by English troupes who visited Bombay
after the British settled here to rule. Students from Elphinstone College
used to invite English actors to stage the famous English dramas.  This
inspired many to translate plays of Shakespear and stage them before
small groups in the beginning.
It was only in 1880 that Annasaheb Kirloskar first staged the
musical drama ‘Shakuntal’. The Kriloskar Natak Mandali was the first
dramatic company to enlist the services of singing actors.  The great
actor and singer Bal Gandharva (Narayan rao Rajahamsa) was serving
in that company in the beginning.  Later on he started his own Gandharva
Natak Mandali.  Shankarrao Patkar and Deval founded ‘Aryodharak’
dramatic institution in 1880 and ‘Maharashtra Natak Mandali’ was
established in 1904.  Most of the dramatic company’s wanted to equip
themselves with the latest know-how about the theatre – the curtains,
scenes, musical instruments and wanted the  best talent to enrich their
troupe.
The great stage actors specialised in certain roles. Ganpatrao
Joshi as Hamlet and Ganpatrao Bhagvat as Keechak dominated the
stage. The other famous actors of the last decade of the 19th century
and the beginning of the 20th century were Ganpatrao Bodas,
Nanasaheb Phatak, Dinkar Kamanna Keshavrao Date and of course
Bal Gandharva. During the fifty years from 1880 onward the several
dramatic companies entertained the Maharshtrian audience with their
extraordinary skills in acting. Bal  Gandharva used to play female roles
and it is said that he used to set fashions to the ladies, such was his
success as an ‘Actress’.
The special type of music called the Natya Sangeet (Dramatic
Vocal music) was popularized by the great singing actors like Bal
Gandharva, Keshavrao Bhosle. Master Krishnarrao and Dinnath
Mangeshkar. They did not developed this form of Semi-classical vocal
music but also enriched the technique of the stage and improved the
accessory material like the scenes and the curtains, the dresses and
the make-up for the actors. They set new trends in staging the old dramas
and presented new dramas with social themes as tragedies and
comedies. The Marathi stage was a highly developed stage even in the
1920’s and today it ranks among the best in India.
 Motion Pictures
It is a well known fact that Dadasaheb Phalke was the pioneer in
the field of motion pictures in India. He staged ‘Raja Harishchandra’ as
the first motion picture in Marathi. He became famous overnight. His
second picture was ‘Bhasmasur Mohini’ and the third was ‘Savitri’. These
pictures were also shown in England and Phalke received recognition
from the Western film makers. Another great film producer of the time
was Baburao Painter of Kolhapur. His motion picture ‘Sairandhri’
became so popular that Lokmanya Tilak gave him the title of ‘Cine
Kesari’. In the later years Prabhat Motion Picture company created
history in India. The present state of Marathi movies is miserable; a sort
of fall from the high position.
Classical Music - Vocal and Instrumental
Like the stage, and the movie pictures Maharashtra had done
pioneering work in popularising Hindustani Music. Those who brought
the Hindustani Music from the North and popularised it in the South were
many. The most outstanding among them were Pandit Balkrishnabuva
Ichalkaranjikar, Pandit Vishnu Digambar Paluskar, Pandit Vishnu
Narayan Bhatkhande, Pandit Bhaskarbuva Bakhle, Khansaheb Abdul
Karim Khan, Ramkrishna Buva Vaze and Alladia Khan. The pioneer of
Hindustani Music in Maharashtra was Balkrishnabuva Ichalkaranjikar.
The disciples of these master singers predominated in the later period.
Abdul Karim Khan was not only perfect in the technique of the vocal
music but with his melodious voice entertained the audience throughout
the country. Alladia Khan came to Maharashtra in 1893 and was a singer
at the court of Shahu Maharaj at Kolhapur. Abdul Karim Khan belonged
to the ‘Kirana Gharana’, both of them intensely loved Maharashtra and
the people of Maharashtra responded to their divine music magnificently .
It was not only in the vocal music that Maharashtra was leading the
nation but in instrumental music also. Govindrao T embe on Harmonium
and Ahmed Jan Tirkhwa on the Tabla were the foremost artists In
Maharashtra. In the 1920’s Maharashtra’s contribution to the composite
culture of the nation upto 1920 is simply spectacular.
THE
 
DEVELOPMENT
 
OF
 
PRESS
 
:
In lesson No. 2 we have referred to the pioneering work of Bal
Shastri Jambhekar and Bhau Mahajan in Marathl journalism. ‘Mumbal
Darpan’ and ‘Prabhakar’ were intended to propagate views on social
matters rather than reporting news from various quarters. These
periodicals in the first half of the 19th century wanted the people to imbibe
the spirit of enquiry and know more about modern science and the World.
After the second half ‘of the 19th Century there was a change in
the perspective.  They furnished information and provoked thinking on
current affairs. We shall mention the work of three periodicals —
“Dnyanodaya”, “Dnyan Prakash” and “Induprakash”  which initially were
periodicals. But later on became daily newspapers. We shall also
discuss the role of the press after the second half of the 19th century
and the two decades of the 20th century in the following pages.
 Dnyanodaya
The challenge to the slumbering people of Maharashtra however
came from a Marathi periodical ‘Dnyanodaya’ published by American
Christian missionaries from Ahmednagar. They started the publication
in 1842. The periodical was dedicated to the spread of Christianity. It
severely exposed the defeats of the Hindu society and criticised the
customs and practices of the Hindus. It was a challenge that forced the
so called guardians of Hinduism to resist such assaults on their religion
and social structure. In 1844 a periodical “Upadeshchandrika” was
published to counteract the propaganda. Earlier two or three periodicals
held the stage to promote moral, social and religious advancement.
They were Danyanasindhu, Mitrodaya, ‘Saduktiratna’ and
‘Dnyanachandrodayay’. Some of them were motivated by the Idea of
protecting Hindu religion. Thus a new force emerged in Maharashtra in
the middle of the 19th century in the form of social reforms and the
protection of Hindu religion. The struggle between the two was to produce
new visions and perspectives.
Dnyanaprakash
The Impact of journalism outside Bombay was deeply felt in Pune.
‘Dnyanaprakash’ began publishing from Pune in 1849.Krishnajl Trimbak
Ranade’ was its first editor. This periodical like Bal Shastri’s ‘Darpan’
was an Anglo-Marathi periodical. In the initial stages it was issued on
every Monday but subsequently it began issuing twice a week on Monday
to Thursday . The contributors to this periodical were such eminent writers
like Krishnashastri Chiplunkar, Lokashitavadi Deshmukh, T atya Chhatre,
Mr, Justice M.G. Ranade and many other scholars of high standing.
‘Dnyanaprakash’ in a short time captured the hearts of the reading public
whose number went on increasing. The periodical had set its sight higher
than that of contemporary periodicals in Bombay. It not only reported
internal news from different parts of the country but also furnished
Information about world affairs.
Its coverage was extensive. It devoted a few columns for reform
programmes especially the female education, indigenous industries
trade and taxes and similar themes of public Interest. It emphasis was
on ‘radiating knowledge’ as the title of the periodical Indicated. In 1904
the periodical became a daily newspaper. This was the second periodical
to be turned into a dally newspaper. The first was the “Induprakash”
published from Bombay.
Page 5


EDUCATIONAL AND CULTURAL
DEVELOPMENT-II
  
INTRODUCTION
 
:
The actual contribution of Maharashtra during the Maratha period
is yet to be ascertained. The later Peshwas and their administrators
were known to be patrons of fine arts and music. The names of Naro
Appaji Bhave and Balaji Pant as instrumentalists were welknown in
Maharashtra.  In later years Raja Ravi Varma a Keralite by birth settled
in Maharashtra and like the great vocal musician Alladia Khan identified
himself with the people of Maharashtra,
During the Maratha period the Performing Arts were limited to
Tamasha, Lalita, Gondhal and the Powadas.The folk dances and
the Dashavataras were staged on religious occasions.
the development of performing arts :
 Drama
The dramas were staged by English troupes who visited Bombay
after the British settled here to rule. Students from Elphinstone College
used to invite English actors to stage the famous English dramas.  This
inspired many to translate plays of Shakespear and stage them before
small groups in the beginning.
It was only in 1880 that Annasaheb Kirloskar first staged the
musical drama ‘Shakuntal’. The Kriloskar Natak Mandali was the first
dramatic company to enlist the services of singing actors.  The great
actor and singer Bal Gandharva (Narayan rao Rajahamsa) was serving
in that company in the beginning.  Later on he started his own Gandharva
Natak Mandali.  Shankarrao Patkar and Deval founded ‘Aryodharak’
dramatic institution in 1880 and ‘Maharashtra Natak Mandali’ was
established in 1904.  Most of the dramatic company’s wanted to equip
themselves with the latest know-how about the theatre – the curtains,
scenes, musical instruments and wanted the  best talent to enrich their
troupe.
The great stage actors specialised in certain roles. Ganpatrao
Joshi as Hamlet and Ganpatrao Bhagvat as Keechak dominated the
stage. The other famous actors of the last decade of the 19th century
and the beginning of the 20th century were Ganpatrao Bodas,
Nanasaheb Phatak, Dinkar Kamanna Keshavrao Date and of course
Bal Gandharva. During the fifty years from 1880 onward the several
dramatic companies entertained the Maharshtrian audience with their
extraordinary skills in acting. Bal  Gandharva used to play female roles
and it is said that he used to set fashions to the ladies, such was his
success as an ‘Actress’.
The special type of music called the Natya Sangeet (Dramatic
Vocal music) was popularized by the great singing actors like Bal
Gandharva, Keshavrao Bhosle. Master Krishnarrao and Dinnath
Mangeshkar. They did not developed this form of Semi-classical vocal
music but also enriched the technique of the stage and improved the
accessory material like the scenes and the curtains, the dresses and
the make-up for the actors. They set new trends in staging the old dramas
and presented new dramas with social themes as tragedies and
comedies. The Marathi stage was a highly developed stage even in the
1920’s and today it ranks among the best in India.
 Motion Pictures
It is a well known fact that Dadasaheb Phalke was the pioneer in
the field of motion pictures in India. He staged ‘Raja Harishchandra’ as
the first motion picture in Marathi. He became famous overnight. His
second picture was ‘Bhasmasur Mohini’ and the third was ‘Savitri’. These
pictures were also shown in England and Phalke received recognition
from the Western film makers. Another great film producer of the time
was Baburao Painter of Kolhapur. His motion picture ‘Sairandhri’
became so popular that Lokmanya Tilak gave him the title of ‘Cine
Kesari’. In the later years Prabhat Motion Picture company created
history in India. The present state of Marathi movies is miserable; a sort
of fall from the high position.
Classical Music - Vocal and Instrumental
Like the stage, and the movie pictures Maharashtra had done
pioneering work in popularising Hindustani Music. Those who brought
the Hindustani Music from the North and popularised it in the South were
many. The most outstanding among them were Pandit Balkrishnabuva
Ichalkaranjikar, Pandit Vishnu Digambar Paluskar, Pandit Vishnu
Narayan Bhatkhande, Pandit Bhaskarbuva Bakhle, Khansaheb Abdul
Karim Khan, Ramkrishna Buva Vaze and Alladia Khan. The pioneer of
Hindustani Music in Maharashtra was Balkrishnabuva Ichalkaranjikar.
The disciples of these master singers predominated in the later period.
Abdul Karim Khan was not only perfect in the technique of the vocal
music but with his melodious voice entertained the audience throughout
the country. Alladia Khan came to Maharashtra in 1893 and was a singer
at the court of Shahu Maharaj at Kolhapur. Abdul Karim Khan belonged
to the ‘Kirana Gharana’, both of them intensely loved Maharashtra and
the people of Maharashtra responded to their divine music magnificently .
It was not only in the vocal music that Maharashtra was leading the
nation but in instrumental music also. Govindrao T embe on Harmonium
and Ahmed Jan Tirkhwa on the Tabla were the foremost artists In
Maharashtra. In the 1920’s Maharashtra’s contribution to the composite
culture of the nation upto 1920 is simply spectacular.
THE
 
DEVELOPMENT
 
OF
 
PRESS
 
:
In lesson No. 2 we have referred to the pioneering work of Bal
Shastri Jambhekar and Bhau Mahajan in Marathl journalism. ‘Mumbal
Darpan’ and ‘Prabhakar’ were intended to propagate views on social
matters rather than reporting news from various quarters. These
periodicals in the first half of the 19th century wanted the people to imbibe
the spirit of enquiry and know more about modern science and the World.
After the second half ‘of the 19th Century there was a change in
the perspective.  They furnished information and provoked thinking on
current affairs. We shall mention the work of three periodicals —
“Dnyanodaya”, “Dnyan Prakash” and “Induprakash”  which initially were
periodicals. But later on became daily newspapers. We shall also
discuss the role of the press after the second half of the 19th century
and the two decades of the 20th century in the following pages.
 Dnyanodaya
The challenge to the slumbering people of Maharashtra however
came from a Marathi periodical ‘Dnyanodaya’ published by American
Christian missionaries from Ahmednagar. They started the publication
in 1842. The periodical was dedicated to the spread of Christianity. It
severely exposed the defeats of the Hindu society and criticised the
customs and practices of the Hindus. It was a challenge that forced the
so called guardians of Hinduism to resist such assaults on their religion
and social structure. In 1844 a periodical “Upadeshchandrika” was
published to counteract the propaganda. Earlier two or three periodicals
held the stage to promote moral, social and religious advancement.
They were Danyanasindhu, Mitrodaya, ‘Saduktiratna’ and
‘Dnyanachandrodayay’. Some of them were motivated by the Idea of
protecting Hindu religion. Thus a new force emerged in Maharashtra in
the middle of the 19th century in the form of social reforms and the
protection of Hindu religion. The struggle between the two was to produce
new visions and perspectives.
Dnyanaprakash
The Impact of journalism outside Bombay was deeply felt in Pune.
‘Dnyanaprakash’ began publishing from Pune in 1849.Krishnajl Trimbak
Ranade’ was its first editor. This periodical like Bal Shastri’s ‘Darpan’
was an Anglo-Marathi periodical. In the initial stages it was issued on
every Monday but subsequently it began issuing twice a week on Monday
to Thursday . The contributors to this periodical were such eminent writers
like Krishnashastri Chiplunkar, Lokashitavadi Deshmukh, T atya Chhatre,
Mr, Justice M.G. Ranade and many other scholars of high standing.
‘Dnyanaprakash’ in a short time captured the hearts of the reading public
whose number went on increasing. The periodical had set its sight higher
than that of contemporary periodicals in Bombay. It not only reported
internal news from different parts of the country but also furnished
Information about world affairs.
Its coverage was extensive. It devoted a few columns for reform
programmes especially the female education, indigenous industries
trade and taxes and similar themes of public Interest. It emphasis was
on ‘radiating knowledge’ as the title of the periodical Indicated. In 1904
the periodical became a daily newspaper. This was the second periodical
to be turned into a dally newspaper. The first was the “Induprakash”
published from Bombay.
Induprakash
This periodical began Its publication in Bombay, from 1862. This
was managed and edited by Visnushastri Pandit. It was printed as a bi-
lingual weekly. It laid emphasis on social reforms. The burning issues of
public interest like child marriage, female education and tonsuring of
the widows were discussed through the columns of this paper. Its main
purpose was to provoke thinking on the social evils and create a public
consciousness favourable for reform. It achieved tremendous popularity .
It began daily publication from 1902 and the daily continued  its career
till 1935.
 Periodicals In the Mofussils
The periodicals and magazines that were being published in
Bombay and Pune were mostly in the two languages - English and
Marathi. They aimed at attracting the readers from Marathi speaking
and non-Marathi people. They showed their interest in various matters.
However, the main objective was to educate the public; the motive of
profit making was a secondary one. The spread of the idea of publishing
periodicals in the mofussils clearly indicated that the movement to
enlighten the people in many important matters was now flowing out.
This was to gain momentum as result of many events in the country and
outside.
The Inam Commission, famines the “Sepoys’ Mutiny of 1857", the
end of  the rule by the East India Company and the’ American Civil war
had shaken the people out of’ their complacency. They were eager for
news and guidance in conducting their business and other affairs of
practical importance. The Thane “Arunodaya” and “Hindupanch” started
in 1866, contained serious discussion of world affairs. The ’Hindupanch’
used caricatures to highlight certain events. Both these periodicals edited
by Kashinath Dhondi Phadke inclined towards political extremism. This
might be an effect of the ‘war of Independence’ that failed in 1857-58. A
serious magazine was started in 1868 in Thane with a title
Vidyakalpataru’. This was obviousty to be a pocket encyclopedia.
The emphasis in issuing magazines from mofussil areas was
mostly on providing information and knowledge about useful matters
not necessarily the current political events. In this respect the
‘Stridnyanapradip’  published from Thane deserves a special mention,
similarly the ‘Dnyanasangraha’ published from Berar and the first Marathi
Magazine from’· Goa published in 1872  requires to be remembered.
Earlier even Ratnagiri began publishing a magazine named
‘Sumargadarshak’ in 1868. Thus during the1860’s and l870’s the
megazine and newspaper consciousness was growing.