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Namdev's style was to compose simply worded praise for Vithoba and to use a melodic device called samkirtana, both of which were accessible to common people.
Shima Iwao says that "He taught that all can be saved equally, without regard to caste, through devotion (bhakti) to Vithoba" and that he greatly influenced groups of people who were forbidden by the Brahmin elite from studying the Vedas, such as women and members of the Shudra and untouchable communities.
The numerous subsequently produced manuscripts also show variant texts and additions that are attributed to him.
Of around 2500 abhangs that were credited to him and written in the Marathi language, perhaps only 600 - 700 are authentic.
His poems sometimes invoked Vithoba, sometimes Vishnu-Krishna as Govind-Hari, but in the larger context of Rama, which states Ronald Mc Gregor, was not referring to the hero described in the Hindu epic Ramayana, but to a pantheistic Ultimate Being.
The songs and music that went with Namdev's works, were usually transmitted verbally across generations, in a guru-sisya-parampara (teacher-student tradition), within singing gharanas (family-like musical units).
Scholars find these biographies to be inconsistent and contradictory.
Namdev was influenced by Vaishnavism, and became widely known in India for his devotional songs set to music (bhajan-kirtans).
) was a poet-saint from Maharashtra, India who is significant to the Varkari sect of Hinduism.
He is also venerated in Sikhism, as well as Hindu warrior-ascetic traditions such as the Dadupanthis and the Niranjani Sampraday that emerged in north India during the Islamic rule. He is the subject of many miracle-filled hagiographies composed centuries after he died.