Tukaram biography of william hill

Little is known of the life of Tukaram, who was born in 1608 in the village of Dehu on the banks of the river Indrayani into a low-caste Sudra family. Since it was common in Maharashtra at that time for the Brahmins to refer to all non-Brahmins as “Sudras”, it is not commonly realized that Tukaram’s family were landowners, and that they made their living by selling the produce of the land. Tukaram’s father had inherited the position of mahajan, or collector of revenue from traders, from his father, and Tukaram in turn was the mahajan of his village Dehu. At a relatively young age, owing to the death of his parents, Tukaram took charge of the family, and before he was twenty-one years old Tukaram had fathered six children. The devastating famine of 1629 carried away Tukaram’s first wife and some of his children, and Tukaram henceforth lost interest in the life of the householder. Though he did not quite forsake his family, he was unable to maintain his second wife or children, and was ultimately reduced to penury and bankruptcy, besides being stripped by the village of his position as mahajan.

In the meantime, Tukaram turned to poetic compositions [abhangs], inspired by his devotion for Lord Vithoba [Vitthal], the family deity. He is said to have been visited in a dream by Namdeo, a great poet-saint of the thirteenth century, and Lord Vitthal himself, and apparently was informed that it was his mission to compose abhangs. In so doing, Tukaram incurred the wrath of the Brahmins: not only had he dared to impinge upon the prereogatives of the Brahmins, who believed themselves to be the only true custodians, interpreters, and spokesmen of religion, he compounded the offence by writing in Marathi rather than Sanskrit. According to legend, the local Brahmins compelled him to throw the manuscripts of his poems into the river Indrayani, and taunted him with the observation tht if he were a true devotee of God, the manuscripts would reappear. It i

1Biographers have addressed the fullness of Yeats’s life, but his self-fashioning and self-mythologizing compel a parallel task, the biography of his books. Biblio-biography is often confined to the biography of a single book,2 but Yeats was a pleromatist. Committed to oeuvre throughout his life, he updated his collected works as a self-image, and his canon-formations involved the relegation of works which did not fit his idea of a Collected Works as a ‘permanent self’. ‘It is myself that I remake’ was his reply to those who regretted this textual husbandry.3

2Yeats’s biblio-biography, then, will be a history of these paradoxical intentions. Ideally, the writing of such a book would depend upon a fully edited Collected Works. Regrettably, the editing of Yeats’s works has yet to address the ‘fullness’, of such an edition, and that is my subject in this present essay. At the heart of his idea of himself as a textual pleroma was a driving awareness of audience. Speaking later in life to Will Rothenstein he

… quoted his brother Jack as saying he painted to please himself and that the public chose to pay him. This was not Yeats’s attitude to poetry: ‘You must remember your audience, it is always there, you cannot write without it’.4

3Both as a young poet and increasingly after the establishment of the Dun Emer Press, his individual assemblages were first tested on coterie audiences whilst having been written or rewritten with this wider ambition, though not without a compelling sense of the primacy of his Irish audience. The two-volume The Poetical Works of William B. Yeats (1906–1907) sought to bring to American audiences some sense of his strategy for growing his Irish audiences by way of the theatre

I am no longer writing for a few friends here and there, but asking my own people to listen, as many as can find their way into the Abbey Theatre in Dublin or some provincial one

Hindu deity considered as a manifestation of Vishnu

"Panduranga" redirects here. For other uses, see Panduranga (disambiguation).

Vithoba (IAST: Viṭhobā), also known as Vitthala (IAST: Viṭṭhala), and Panduranga (IAST: Pāṇḍuraṅga), is a Hindu deity predominantly worshipped in the Indian states of Maharashtra and Karnataka. He is a form of the Hindu deity Vishnu in his avatar: Krishna. Vithoba is often depicted as a dark young boy, standing arms akimbo on a brick, sometimes accompanied by his consort Rakhumai.

Vithoba is the focus of an essentially monotheistic, non-ritualistic bhakti-drivenVarkari faith in Maharashtra and the Haridasa sect established in Dvaita Vedanta in Karnataka. Vithoba Temple, Pandharpur is his main temple. Vithoba legends revolve around his devotee Pundalik who is credited for bringing the deity to Pandharpur, and around Vithoba's role as a saviour to the poet-saints of the Varkari faith. The Varkari poet-saints are known for their unique genre of devotional lyric, the abhang, dedicated to Vithoba and composed in Marathi. Other devotional literature dedicated to Vithoba includes the Kannada hymns of the Haridasa and the Marathi versions of the generic aarti songs associated with rituals of offering light to the deity. The most important festivals of Vithoba are held on Shayani Ekadashi in the month of Ashadha, and Prabodhini Ekadashi in the month of Kartika.

The historiography of Vithoba and his sect is an area of continuing debate, even regarding his name. Though the origins of both his sect and his main temple are likewise debated, there is clear evidence that they already existed by the 13th century.

Etymology and other names

Vithoba (Marathi: विठोबा, IAST: Viṭhobā) is known by many names, including: Vitthala, Panduranga, Pandharinath, Hari, Ranga and Narayan.

There are several theories about the origins and meanings of these names. Varkari tradition suggests that the name