Do we deserve Jana Gana Mana as our National Anthem???

Discussion in 'Politics & Society' started by Bhushan, Apr 28, 2009.

  1. Samudra

    Samudra New Member

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    This is a little ridiculous. Andhra, Mysore and Kerala are all part of South aka Dravida. Rahul Dravids father named him Dravid because he wanted to stress the fact that he was a very proud south Indian. Dravida is a Sanskrit word that came to mean all that is south of Vindya's. Himachal would obviously be a reference to all regions adjoining the mountains. Rajasthan is only between Sindh and Punjab - big deal!

    Why do you assume all regions have to be named explicitly? I don't like the National Anthem because it doesn't mention my home town Coimbatore or village ? Do you see how silly it gets?

    Tagore has traced the cultural boundries and regions of the sub-continent. It has nothing to do with political set-ups like princely states or British fiefdoms.
     
  2. johnee

    johnee Elite Member Elite Member

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    you mentioned that dravida is sanskrit word for south-india which is incorrect AFAIK. south-india has several states of which dravida is also one. in mahabharata; andhra and dravida are mentioned separately. so, your first point is wrong. then you are saying that rajasthan is between sindh and punjab and hence needs no special mention. this is extremely ridiculous arguement. finally, you assume that himachal refers to all the regions along the himalayan mountains. its just a assumption.

    now, why did I mention that not all geographics of india are mentioned in the song ? to draw attention to the fact that those geographies that are mentioned in the poem are only those that were ruled by the british at that time. that is about the content of the poem. now, the context of the poem:
    it was sung in commeration durbar on the day when the agenda was to WELCOME THE GEORGE V.
    now, combine the content and context and you get the meaning of the poem.
    guruji traced the boundaries of british controlled india and hailed 'lord' as the ruler of minds of the ppl.
    now, who is the ruler?
    it is open to interpretations. but the straightforward answer is that since it was sung as paean to george V. it was he who was reffered as lord. but of course we can find new interpretations to suit our sensibilities and sensitivities.
     
  3. Samudra

    Samudra New Member

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    You're making it even silly. Maybe Yamuna, Ganges and the Vindhya's and Himachal were Brit provinces for Tagore to put them in. In anycase Tagore himself has sealed the argument about who he had in his mind when he wrote the work. Case closed.
     
  4. Yusuf

    Yusuf GUARDIAN Administrator

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    Our National Anthem

    I got the following in a chain mail. I thought i could put this here and get views of our members here.

     
  5. SHASH2K2

    SHASH2K2 New Member

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    Read something similar to this long back but that was not so detailed. This is a blunder that should be undone but will not be undone.Wish we have balls to take harsh and tough decisions.
     
  6. Oracle

    Oracle New Member

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    Is that true? If that is true, we should scrap it and instead make Vande Mataram as our National Anthem. Ray Sir, could you please clear the air?
     
  7. Tshering22

    Tshering22 Sikkimese Saber Senior Member

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    I am not familiar much with Bengali but none of the stanzas ever mention about our motherland as the vidhata. But if this is true (since then Congees emerged from British favours to rule us), we should replace it with Vande Mataram as you said. I had a lingering suspicion about the meaning of national anthem sometime back since none of the provinces that are mentioned in it are there in their whole sense in modern India (Sindh gone to Pure Land, Punjab, half gifted away, Gujarat is there, Maharashtra is there, Dravida (Aryan invasion theory) is imperialist propaganda as douth India is 4 different states with cultural similarities etc)
     
  8. Oracle

    Oracle New Member

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    I am also not very much familiar with Bengali. Those are tough words to understand dude! :D
     
  9. Yusuf

    Yusuf GUARDIAN Administrator

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    Tagore's Jana Gana Mana was chosen as the National Anthem of the 1947 Republic of India. Vande Mataram was rejected[citation needed] on the grounds that Muslims, Christians, Parsis, Sikhs, Arya Samajis and others who opposed idol worship felt offended by its depiction of the nation as "Mother Durga", a Hindu goddess. Muslims also felt that its origin as part of Anandamatha, a novel they felt had an anti-Muslim message.
    The designation as "national song" predates independence, dating to 1937. At this date, the Indian National Congress discussed at length the status of the song. It was pointed out then that though the first two stanzas began with an unexceptionable evocation of the beauty of the motherland, in later stanzas there are references where the motherland is likened to the Hindu goddess Durga. Therefore, INC decided to adopt only the first two stanzas as the national song.
    The controversy becomes more complex in the light of Rabindranath Tagore's rejection of the song as one that would unite all communities in India. In his letter to Subhash Chandra Bose (1937), Rabindranath wrote:
    "The core of Vande Mataram is a hymn to goddess Durga: this is so plain that there can be no debate about it. Of course Bankimchandra does show Durga to be inseparably united with Bengal in the end, but no Mussulman [Muslim] can be expected patriotically to worship the ten-handed deity as 'Swadesh' [the nation]. This year many of the special [Durga] Puja numbers of our magazines have quoted verses from Vande Mataram - proof that the editors take the song to be a hymn to Durga. The novel Anandamath is a work of literature, and so the song is appropriate in it. But Parliament is a place of union for all religious groups, and there the song cannot be appropriate. When Bengali Mussulmans show signs of stubborn fanaticism, we regard these as intolerable. When we too copy them and make unreasonable demands, it will be self-defeating."
    In a postscript to this same letter, Rabindranath says:
    "Bengali Hindus have become agitated over this matter, but it does not concern only Hindus. Since there are strong feelings on both sides, a balanced judgment is essential. In pursuit of our political aims we want peace, unity and good will - we do not want the endless tug of war that comes from supporting the demands of one faction over the other." [9]
    Rajendra Prasad, who was presiding the Constituent Assembly on January 24, 1950, made the following statement which was also adopted as the final decision on the issue:
    The composition consisting of words and music known as Jana Gana Mana is the National Anthem of India, subject to such alterations as the Government may authorise as occasion arises, and the song Vande Mataram, which has played a historic part in the struggle for Indian freedom, shall be honored equally with Jana Gana Mana and shall have equal status with it. (Applause) I hope this will satisfy members. (Constituent Assembly of India, Vol. XII, 24-1-1950)
    The two verses adopted as "national song" read as follows:
    In Aurobindo Ghose's translation:[10] in IAST: Bengali romanization:
    I bow to thee, Mother,
    richly-watered, richly-fruited,
    cool with the winds of the south,
    dark with the crops of the harvests,
    the Mother!
    Her nights rejoicing
    in the glory of the moonlight,
    her lands clothed beautifully
    with her trees in flowering bloom,
    sweet of laughter,
    sweet of speech,
    The Mother,
    giver of boons, giver of bliss!

    source wikipedia
     
  10. Yusuf

    Yusuf GUARDIAN Administrator

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    Views on Vande Mataram as per wiki

    View of Muslim institutions

    Muslim institutions in general, see Vande Mataram in a negative light.[4] Though a number of Muslim organizations and individuals have opposed Vande Mataram being used as a "national song" of India, citing many religious reasons, some Muslim personalities have admired and even praised Vande Mataram as the "National Song of India" . Arif Mohammed Khan, a former Union Minister in the Rajiv Gandhi government, wrote an Urdu translation of Vande Mataram which starts as Tasleemat, maan tasleemat.[13]
    All India Sunni Ulema Board on Sept 6, 2006, issued a fatwa that the Muslims can sing the first two verses of the song. The Board president Moulana Mufti Syed Shah Badruddin Qadri Aljeelani said that "If you bow at the feet of your mother with respect, it is not shirk but only respect."[14] Shia scholar and All India Muslim Personal Law Board vice-president Maulana Kalbe Sadiq stated on Sept 5, 2006 that scholars need to examine the term "vande." He asked, "Does it mean salutation or worship?"[15]

    View of Sikh institutions

    Shiromani Gurudwara Parbandhak Committee or SGPC, the paramount representative body in the Sikh Panth, requested that the Sikhs not sing "Vande Mataram" in the schools and institutions on its centenary on Sept 7, 2006.[16] SGPC head, Avtar Singh Makkar, expressed concern that "imposing a song that reflected just one religion was bound to hurt the sentiments of the Muslims, Sikhs, Christians and other religious minorities. The DSGMC (Delhi Sikh Gurudwara Management Committee) has called singing of "Vande Mataram" against Sikh tenents[17] as the Sikhs sought "sarbat da bhala" (universal welfare) and did not believe in "devi and devta".[17] DSGMC head H. S. Sarna also added that the song "Vande Mataram" had been rejected long before by well known freedom fighter Sikhs like Baba Kharak Singh and Master Tara Singh.[17]

    View of Christian institutions

    Fr. Cyprian Kullu from Jharkhand stated in an interview with AsiaNews: "The song is a part of our history and national festivity and religion should not be dragged into such mundane things. The Vande Mataram is simply a national song without any connotation that could violate the tenets of any religion."[18] However, some Christian institutions such as Our Lady of Fatima Convent School in Patiala did not sing the song on its 100th anniversary as mandated by the state.[19] Christians make a distinction between "veneration" and "worship," and even though the song falls into neither of these categories, some Christians may have declined to sing the national song because of their understanding of its intention and content.
     
  11. Yusuf

    Yusuf GUARDIAN Administrator

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    1. Historical significance:-
    The poem was composed in December 1911, precisely at the time of the Coronation Durbar of George V, and "Bharat Bhagya vidhata" and "Adhinayaka" is considered by some to be in praise of King George V and not God. The composition was first sung during a convention of the then loyalist Indian National Congress in Calcutta on Dec. 26, 1911.[2] It was sung on the second day of the convention, and the agenda of that day devoted itself to a loyal welcome of George V on his visit to India. The event was reported thus in the British Indian press:
    "The Bengali poet Babu Rabindranath Tagore sang a song composed by him specially to welcome the Emperor." (Statesman, Dec. 28, 1911)
    "The proceedings began with the singing by Babu Rabindranath Tagore of a song specially composed by him in honour of the Emperor." (Englishman, Dec. 28, 1911)
    "When the proceedings of the Indian National Congress began on Wednesday 27th December 1911, a Bengali song in welcome of the Emperor was sung. A resolution welcoming the Emperor and Empress was also adopted unanimously." (Indian, Dec. 29, 1911)
    Proposed arguments
    Many historians aver that the newspaper reports cited above were misguided. The confusion arose in British Indian press since a different song, "Badshah Humara" written in Hindi by Rambhuj Chaudhary [3], was sung on the same occasion in praise of the monarch. The nationalist Indian press stated this difference of events clearly:-
    "The proceedings of the Congress party session started with a prayer in Bengali to praise God (song of benediction). This was followed by a resolution expressing loyalty to King George V. Then another song was sung welcoming King George V." (Amrita Bazar Patrika, Dec.28,1911)
    "The annual session of Congress began by singing a song composed by the great Bengali poet Babu Ravindranath Tagore. Then a resolution expressing loyalty to King George V was passed. A song paying a heartfelt homage to King George V was then sung by a group of boys and girls." (The Bengalee, Dec. 28, 1911)
    Even the report of the annual session of the Indian National Congress of December 1911 stated this difference:
    "On the first day of 28th annual session of the Congress, proceedings started after singing Vande Mataram. On the second day the work began after singing a patriotic song by Babu Ravindranath Tagore. Messages from well wishers were then read and a resolution was passed expressing loyalty to King George V. Afterwards the song composed for welcoming King George V and Queen Mary was sung."
    On 10 November 1937 Tagore wrote a letter to Mr Pulin Bihari Sen about the controversy. That letter in Bengali can be found in Tagore's biography Ravindrajivani, volume II page 339 by Prabhatkumar Mukherjee.
    "A certain high official in His Majesty's service, who was also my friend, had requested that I write a song of felicitation towards the Emperor. The request simply amazed me. It caused a great stir in my heart. In response to that great mental turmoil, I pronounced the victory in Jana Gana Mana of that Bhagya Vidhata [ed. God of Destiny] of India who has from age after age held steadfast the reins of India's chariot through rise and fall, through the straight path and the curved. That Lord of Destiny, that Reader of the Collective Mind of India, that Perennial Guide, could never be George V, George VI, or any other George. Even my official friend understood this about the song. After all, even if his admiration for the crown was excessive, he was not lacking in simple common sense."
    Again in his letter of 19 March 1939 Tagore writes,
    "I should only insult myself if I cared to answer those who consider me capable of such unbounded stupidity as to sing in praise of George the Fourth or George the Fifth as the Eternal Charioteer leading the pilgrims on their journey through countless ages of the timeless history of mankind." (Purvasa, Phalgun, 1354, p738.)
    Moreover, Tagore was hailed as a patriot who wrote other songs too apart from "Jana gana Mana" lionizing the Indian independence movement.He renounced his knighthood in protest against the 1919 Jallianwala Bagh Massacre. The Knighthood i.e. the title of 'Sir' was conferred on him by the same King George V after receiving the Nobel Prize in Literature for "Gitanjali" from the government of Sweden. Two of Tagore's more politically charged compositions, "Chitto Jetha Bhayshunyo" ("Where the Mind is Without Fear" :Gitanjali Poem#35) and "Ekla Chalo Re" ("If They Answer Not to Thy Call, Walk Alone"), gained mass appeal, with the latter favoured by Gandhiji and Netaji.
     
  12. Tshering22

    Tshering22 Sikkimese Saber Senior Member

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    ^^^ Well the distinction is that India is INDIA and not some middle eastern or European country. They are given all the freedom to preach and practise their faiths here and hence they must also make some adjustments to stay in line with the ancient national culture. The Law of Nature is give and take.

    As for news, The moment mullas here declared "Vande Mataram" as anti-Muslim, more than 1 lakh Muslims sang the national song in front of everyone proudly with national flag. This is the reality of India. :india:

    Shows how cheap politics can get and how desperately foreign money is being forced to create disunity and disharmony in India.
     
  13. LurkerBaba

    LurkerBaba Staff Administrator

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    Ok I remember this being answered by someone on the 'other forum'



     
  14. Yusuf

    Yusuf GUARDIAN Administrator

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    This article is written in response to the frequently perpetuated myth
    that Rabindranath Tagore wrote the song Jana Gana Mana for the
    British monarch. For as long as one can remember, in fact, from
    the very early decades of this century, there has been a stubborn
    mythology vis-a-vis the circumstances surrounding the writing of
    Jana Gana Mana by India's greatest cultural figure, Rabindranath
    Tagore. Such stubborn mythologies often arise out of extremely
    limited knowledge of, or familiarity with, the life and works of a
    great man (a mahapurusha, to coin a more appropriate Indian term).
    Understandably, those not familiar with the Bengali language have
    the Herculean task of turning themselves into Tagore scholars
    in order to get a wider glimpse of the man and the scope of his
    accomplishments. This limitation, in many cases, leads them
    to narrow perspectives and hearsay, rather than the type of
    direct examination necessary to draw objective conclusions.

    Anyone even moderately informed about the life and works of
    Rabindranath Tagore cannot have the slightest doubt about the
    greatness of this towering figure of human civilization,
    measured by any standard anywhere in the world. As the
    great Indian saint Sri Ramakrishna would say metaphorically,
    "The vulture flies high in the sky, yet his sight is set upon
    the garbage heap upon the ground." True to this aphorism,
    there is often a concerted effort to measure a man of Tagore's
    magnitude by unjustifiable and contrived means which
    apparently make him more life-size and flawed, and therefore
    more everyday and run-of-the-mill. To critics who only
    sample certain minuscule outer trappings of this astonishing
    creative genius and extraordinary humanitarian, such forced
    finitude perhaps brings a measure of parity and comprehension
    against which one can safely stack everyday events and
    human tendencies in all their glorious mediocrity.

    I write this not as an apologist for flawed heroes, or the
    frailties imbedded within human greatness. I am quite
    aware of these realities, and feel as strongly as most about
    the need to not deify a great human being and in the process
    lose sight of his or her humanity (with its associated
    limitations) and its inspirational values. However, there is
    a rather meager "catch" when it comes to finding holes in
    the gigantic canvas of Tagore's life (in this case, I am not
    considering scholarly evaluation of his literary works), and
    I have observed time after time recurrence of the same
    tired allegations, or even worse, presumptions applied
    to aspects of it observed through low-aperture eyepieces
    and tunnel vision. The Jana Gana Mana controversy,
    involving the time and circumstances of Tagore's writing
    of the verse poem and song later chosen to be independent
    India's national anthem, is one such rare, albeit convenient,
    "catch".

    The mythology surrounds the 1911 visit to India by King
    George V. To commemorate the occasion, the Indian National
    Congress (INC) approached Tagore for a poem of welcome.
    As Yeats (his Irish admirer of many years) recalled later,
    Tagore was deeply troubled by the assignment. Early one
    morning, he composed a very beautiful poem and handed
    it over to his colleagues. He suggested that it was a poem
    addressed to God, and that they should give it to the Congress
    people. At the Calcutta Congress session which began on
    December 16, 1911, the second day was apparently devoted
    entirely to welcoming King George V. Jana Gana Mana was
    sung on this occasion. Thereafter, the newspaper reports
    maintained that it was sung as a salute to the King Emperor
    (George V). Since Tagore did not immediately refute the
    allegation, the perception spread that the song was a
    eulogy to the monarchy.Obviously nothing could be farther
    from the truth. As with many of his puja or devotional songs,
    if there was a divine entity to whom Tagore addressed many
    of his heartfelt yearnings for communion and eternal play,
    it was a Monarch infinitely greater than any mortal King
    Emperor could ever aspire to be. The Lord of India's Destiny,
    to whom Jana Gana Mana is officially addressed, is the
    perennial Bhagya Vidhata of India who has, from the very
    dawn of civilization, guided India through great triumphs
    and tragedies. The Lord of India is therefore India's eternal
    guiding spirit, and could never be merely the king of a
    colonial empire. It is hardly necessary to point out that if
    Tagore had the slightest weakness towards, or preference
    for the British monarchy, his staunch and steadfast opposition
    to British rule would seriously contradict any such deeply
    guarded fantasy. His relinquishing of the Knighthood honor
    (received at the hands of the very same monarch to whom,
    according to the detractors, he supposedly offered such
    unabashed tributes) in protest against the Amritsar
    (Jallianwallah Bagh) massacre in 1919, is likewise a
    study in stark contrast.

    To the copious writing and data that are extant with regards
    to this grossly over-amplified issue, I need hardly add any
    more information of my own. The fact that despite an
    extensive personal reflection on this matter by Tagore
    himself, whereby he has refuted beyond any controversy
    the "charge" that he had written the song to felicitate the
    King Emperor of England and her colonial empire, the
    gnawing doubts in certain quarters persist, only goes to
    show the severe problem associated with tunnel vision and
    the age-old problem of a blind person visualizing an
    elephant using vanishingly minuscule data.

    In Tagore's collected works, it is mentioned that the INC
    requested that Tagore write a felicitation to the King
    Emperor as an appeasement gesture to the British monarchy
    in response to the annulment of the Bengal Partition Act.
    Not only was Tagore troubled by the request, he was
    downright offended by it. It is said that Jana Gana Mana
    was written more out of protest and rebellion than adoration
    towards the monarchy. An objective reading of the song
    should make it eminently clear as to whom the poet
    decided to offer his worship. In a letter to Pulin Behari Sen,
    Tagore later wrote, "A certain high official in His Majesty's
    service, who was also my friend, had requested that I write
    a song of felicitation towards the Emperor. The request simply
    amazed me. It caused a great stir in my heart. In response
    to that great mental turmoil, I pronounced the victory in
    Jana Gana Mana of that Bhagya Vidhata of India who has
    from age after age held steadfast the reins of India's
    chariot through rise and fall, through the straight path
    and the curved. That Lord of Destiny, that Reader of the
    Collective Mind of India, that Perennial Guide, could never
    be George V, George VI, or any other George. Even my
    official friend understood this about the song. After all,
    even if his admiration for the crown was excessive, he
    was not lacking in simple common sense."

    Not only as an inveterate admirer of Tagore, but also as
    someone who believes strongly that allegations against
    extraordinary human beings deserve extraordinary care
    and a scrupulous contextual examination, I can only urge
    those who choose to join the Jana Gana Mana controversy
    to study Tagore more extensively before jumping on the
    bandwagon or making unsubstantiated pronouncements.

    Despite his noble birth and lineage, Rabindranath Tagore
    used every fruitful moment of his long creative life to
    understand, empathize with, and defend the history,
    culture, and people of India. His sincere belief in India's
    crying need to be freed of colonial oppression has been
    expressed profoundly and eloquently in vast and profuse
    areas of his writings, some of which can be traced back
    to his late teens and early twenties. I cannot even begin
    to cite examples of his wise and deeply insightful
    proclamations and pronouncements in this regard;
    suffice it to say that in each well-known episodic event,
    Tagore's attempts and desire to align himself with the
    oppressed, the downtrodden and the diverse people of
    his beloved Motherland have a degree of consistency
    which is simply mind-boggling. Tagore was nurtured
    in the musical and mystical traditions of Vaishnavism
    and the Bengali Baul, and was close to the enlightened
    reformist views of Brahmo society. Yet, at no time in
    his life was he narrowly religious. His family initiated a
    tradition of Swadeshi Melas (National Fairs) as early as
    the late 1800s, and Tagore's contributions to the cultural
    expositions at these Melas are legendary. We cannot
    forget his early dramatic work, Valmiki-Pratibha (The Genius
    of Valmiki), or his colloquial verse collection, Bhanusimher
    Padavali (The Verses of Bhanusimha Thakur). In these,
    as in others, Tagore shows signs of his deep understanding
    of India's cultural treasures and literary heritage. Building
    upon these, and growing from strength to strength, Tagore
    became one of the most exceptional vehicles of Indian
    culture, perhaps in all of Indian history, in the subsequent
    decades of his life.

    Not too long ago, I had occasion to listen to a moving
    collection of his songs, interspersed with short narratives.
    In this collection, a fresh new light has been cast upon
    one of his well-known songs, Amaye Bolo Na Gahite Bolo
    Na. The story narrated therein simply bears testimony to
    Tagore's deep and abiding compassion for India and
    everything Indian. Since the genesis of this song takes
    us to the very early years of the 20th century, I feel
    impelled to briefly recount it here with the hope that it
    will exemplify Tagore's exalted stature as an illustrious
    son of India who devoted all his creative energies to
    promote her cause before the world throughout his life.
    As the story goes, at the end of several days of what
    may best be described as "blow hot" political speeches
    (or copious dissipation of what may unflatteringly be
    called hot air) during a national convention of the then
    young Indian National Congress around 1908, the Bengali
    scholar and socialite Taraknath Palit had arranged a
    reception of the prominent leaders of the INC at his
    home. It needs to be mentioned that from its very
    early years, the INC had close connections to Bengal,
    and Tagore, though not a politician by choice or
    temperament, was nevertheless associated with it.
    This should come as no surprise, since the INC in the
    first four or five decades of its existence had a
    significant Bengali presence right up to its highest
    ranks. In later years, especially since the repeal of
    Lord Curzon's infamous Partition of Bengal proposition,
    and definitely after around 1915 or so, Tagore
    dissociated himself from any political affiliation. In
    matters of national politics and the freedom movement,
    he took on the mantle of a preeminent commentator
    and penetrating observer and advisor. Returning to the
    matter of Taraknath Palit's reception, it turns out that
    Mr. Palit had invited Tagore, and specifically requested
    that the already well-regarded poet and composer present
    an original piece of work for the amusement of his
    political guests. As Tagore's son Rathindranath reminisced
    later, Tagore was greatly dismayed by the hollow and
    pompous speechmaking that had preceded the event for
    several days, and mulled over the impossible "entertainment"
    role that had been tossed in his lap. Needless to say, the
    great composer wrote a poignant song for the occasion,
    and much to the dismay of the merry political crowd
    which was more interested in pursuing narrowly zealous
    creeds, he sang this sad yet uplifting song, filled with
    gentle admonition, at Palit's home the next day. I present
    below a prose translation by myself of this song, which,
    as with hundreds of others, bears testimony to Tagore's
    incorruptible love for India.

    http://www.countercurrents.org/comm-chatterjee310803.htm

    Picked this up while hunting for info.
     
  15. Ray

    Ray The Chairman Defence Professionals Moderator

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    Sri Aurobindo, was an Indian nationalist, freedom fighter, philosopher, yogi, guru, and poet and who joined the Indian movement for freedom from the British rule and was one of its most important leaders, before developing his own vision of human progress and spiritual evolution.

    I presume he would know more Bengali and its subtleties as also the contemporary situation prevalent in those times than those who wish to give interpretations.
     
  16. ajtr

    ajtr Veteran Member Veteran Member

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    So why blame Tagore for this confusion which was entirely created by the congress.Tagore wrote Jan Gan Man in honour of God and it was congress which sang it in honour of the king.So one cant blame the wrong intentions of congress in singing the song on Tagore.
     
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  17. Tshering22

    Tshering22 Sikkimese Saber Senior Member

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    You can't just "break away", mate. Dhamma is not some political party or piece of land to be done that. It only forms and reinvents itself in a new form. The very concept of monotheism is debatable since the Power is limitless. It exists in numerical forms and beyond the comprehension of human mind. It manifests itself in thousands of forms, millions of incarnates and continues to manifest and dominate this universe. By limiting this 'Power' to 1, this is simply a silly human attempt to gain political following and mileage in the guise of earning faithful followers.

    The Power exists beyond 1 and before 0; beyond infinite and before beginning. There is no numerical denomination in which this Power can be captured.

    The concept of Buddh'ism' and Hindu'ism' being terms as "polytheistic" from non-understanding Westerners and medieval Islamic invaders is a topic that demands a separate thread. This structured restriction that foreign cultures brought to this land is not weave-able in the fabric of our common ancient ways.
     
  18. Friend

    Friend Regular Member

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    Well done Yusuf!!

    Well for everybody's info, both Vande Mataram & Jan-gan-Man are Sanskritized Bengali. Therefore its not the language Bengalis speak now-a-days :)

    On a philosophical note, its all about interpretation...... isnt it........ Wish language would not have been soo subtle.
     
  19. pmaitra

    pmaitra Moderator Moderator

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    Jana Gana Mana - Full Text in Devanagari

    Jana Gana Mana - Full Text in Devanagari

    The full text is provided along with explanations and/or definition after each stanza.

    गुरुदेव रवींद्र नाथ ठाकुर भारत के बँगला साहित्य के शिरोमणि कवि थे.
    उनकी कविता में प्रकृति के सौंदर्य और कोमलतम मानवीय भावनाओं का उत्कृष्ट चित्रण है.
    "जन गण मन" उनकी रचित एक विशिष्ट कविता है जिसके प्रथम छंद को हमारे राष्ट्रीय गीत होने का गौरव प्राप्त है.
    गणतंत्र दिवस के शुभ अवसर पर, काव्यालय की ओर से, आप सबको यह कविता अपने मूल बंगला रूप में प्रस्तुत है.


    जन गण मन

    बंगला मूल
    शब्दार्थ


    जन गण मन अधिनायक जय हे
    भारत भाग्य विधाता
    पंजाब सिन्ध गुजरात मराठा
    द्राविड़ उत्कल बंग
    विन्ध्य हिमाचल यमुना गंगा
    उच्छल जलधि तरंग
    तव शुभ नामे जागे
    तव शुभ आशिष मागे
    गाहे तव जय गाथा
    जन गण मंगल दायक जय हे
    भारत भाग्य विधाता
    जय हे जय हे जय हे
    जय जय जय जय हे

    अहरह तव आह्वान प्रचारित
    शुनि तव उदार वाणी
    हिन्दु बौद्ध शिख जैन
    पारसिक मुसलमान खृष्टानी
    पूरब पश्चिम आशे
    तव सिंहासन पाशे
    प्रेमहार हय गाँथा
    जन गण ऐक्य विधायक जय हे
    भारत भाग्य विधाता
    जय हे जय हे जय हे
    जय जय जय जय हे


    अहरह: निरन्तर;
    तव: तुम्हारा
    शुनि: सुनकर
    आशे: आते हैं
    पाशे: पास में
    हय गाँथा: गुँथता है
    ऐक्य: एकता


    पतन-अभ्युदय-बन्धुर-पंथा
    युगयुग धावित यात्री,
    हे चिर-सारथी,
    तव रथचक्रे मुखरित पथ दिन-रात्रि
    दारुण विप्लव-माझे
    तव शंखध्वनि बाजे,
    संकट-दुख-त्राता,
    जन-गण-पथ-परिचायक जय हे
    भारत-भाग्य-विधाता,
    जय हे, जय हे, जय हे,
    जय जय जय जय हे


    अभ्युदय: उत्थान;
    बन्धुर: मित्र का
    धावित: दौड़ते हैं
    माझे: बीच में
    त्राता: जो मुक्ति दिलाए
    परिचायक: जो परिचय कराता है


    घोर-तिमिर-घन-निविड़-निशीथे
    पीड़ित मुर्च्छित-देशे
    जाग्रत छिल तव अविचल मंगल
    नत-नयने अनिमेष
    दुःस्वप्ने आतंके
    रक्षा करिले अंके
    स्नेहमयी तुमि माता,
    जन-गण-दुखत्रायक जय हे
    भारत-भाग्य-विधाता,
    जय हे, जय हे, जय हे,
    जय जय जय जय हे


    निविड़: घोंसला
    छिल: था
    अनिमेष: अपलक
    करिले: किया; अंके: गोद में


    रात्रि प्रभातिल उदिल रविछवि
    पूर्व-उदय-गिरि-भाले,
    गाहे विहन्गम, पुण्य समीरण
    नव-जीवन-रस ढाले,
    तव करुणारुण-रागे
    निद्रित भारत जागे
    तव चरणे नत माथा,
    जय जय जय हे, जय राजेश्वर,
    भारत-भाग्य-विधाता,
    जय हे, जय हे, जय हे,
    जय जय जय जय हे


    प्रभातिल: प्रभात

    - रवीन्द्रनाथ ठाकुर

    Source: http://www.manaskriti.com/kaavyaalaya/jan_gan_man.stm
     
    Last edited: Feb 1, 2011
  20. S.A.T.A

    S.A.T.A Senior Member Senior Member

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    There are two subtexts to the legend surrounding the national anthem,first that the Indian national congress requested Guru Tagore to write a verse that would be sung as an eulogy to the visiting British monarch and when the song was sung at the felicitation ceremony,that was how INC saw it,the second being how Guru Tagore interpreted it.

    Whatever Sri Rabindranath Tagore's interpretation of the ode,its clear that the congress at the time perceived it as an eulogy to the British Monarch,also the emperor of all India(India's bhagya vidhatha, so to speak) and when the national song 'vande mataram' ran under controversy when it failed to measure up to secular scrutiny,it brought up the Jana Gana Mana, inspite of the fact they clearly understood,because they themselves had earlier requested for,it was as an eulogy to the British emperor.
     

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