On 7 November, the lyric that has lodged itself in the political and emotional memory of modern India – Vande Mataram – completed 150 years since its composition. What b e gan as a spontaneous, Sanskrit-tinged Bengali poem by Bankim Chandra Chattopadhyay in the 1870s grew into a rallying cry for an emerging nation, then into a contested symbol, and finally into the Republic’s national song.
To mark this sesquicentennial is to revisit not only the poem’s literary origin but also the contested cultural conversations it has carried through generations – about religion and nationhood, about modernity and tradition, and about the languages in which we imagine India. The song first appeared in his celebrated novel “Anandamath” (published in 1882), which vividly captured the anti-colonial spirit of the era. Scholars have emphasized how Bankim Chandra’s use of Sanskrit elements reaffirmed India’s cultural roots. As Dr. R.C. Majumdar noted, “Vande Mataram sounded the clarion call of freedom, echoing the ancient spirit of mother-worship and patriotism”.
The first two stanzas, which constitute the National Song today, glorify the Mother land not merely a s a geographical entity but as a divine, nurturing force. Cultural historian and author Dr. Srimati Das, emphasizes the song’s transformative role. To her, “‘Vande Mataram’ was not merely a piece of poetry; it was a psychological transformation that gave voice to the dormant spirit of nationalism. It provided a spiritual, unifying image of India, making resistance a sacred duty.” The song’s journey from the pages of a novel to the national stage culminated in the late 19th century. In 1896, during the Calcutta session of the Indian National Congress, it was Rabindranath Tagore – then a relatively young but prominent figure – who first sang ‘Vande Mataram’ publicly, an early and memorable instance of the poem’s migration from page to public voice.
His rendition set the tune that would resonate for generations, firmly establishing the song’s place in the political landscape. ‘Vande Mataram’ acquired political meaning during the Swadeshi and anti-Partition agitations of the early twentieth century. It began to circulate not merely in books but on platforms, in processions and in the charged atmosphere of Congress sessions. After Tagore’s rendition, the poem became part of protest repertoires – sung in meetings, printed on flags, and even proscribed under colonial regulation at moments when its utterance challenged imperial authority. Sri Aurobindo, one of the intellectuals who engaged deeply with the poem, translated ‘Vande Mataram’ into English. He noted both the lyric’s unique poetic force and its mobilising capacity – a reminder that ‘Vande Mataram’ has been read as devotional metaphor, political slogan and poetic masterpiece in quick succession.
“It is difficult to translate the National Song of India into verse in another language owing to its unique union of sweetness, simple directness and high poetic force,” he observed. Such reflections help explain why the poem has been claimed by differing sensibilities across time. The poem’s elevation to official status also carried anxieties. In 1937 the Congress adopted the first two stanzas of the poem as its national song, an act that reflected an attempt to retain the lyric’s emotive power. Thereafter, the Constituent Assembly adopted Vande Mataram in 1950 as India’s National Song – to be honoured alongside the National Anthem, Jana Gana Mana. The later stanzas, many scholars believe, were left because of their clear orientation towards a particular religion. In the 127th episode of Mann Ki Baat, Prime Minister Narendra Modi reminded listeners that “on November 7, we will be entering the 150th year of the celebration of ‘Vande Mataram’,” and he reiterated a claim that the song “was composed 150 years ago, and in 1896, Gurudev Rabindranath Tagore sang it for the first time.”
He used the occasion to observe that “the national song was composed in Sanskrit,” and to lament that “during the period of servitude and also after independence, Sanskrit has consistently suffered from neglect”. The Prime Minister, however, noted his praise over the recent revival of interest in Sanskrit among young people active on social media. That juxtaposition – celebrating a Sanskritised lyric and urging renewed attention to an ancient language – is a profound testament to carrying forward a legacy, while not politicizing it. One will agree that pointing to the poem’s Sanskritized idiom highlights continuity with India’s classical textual traditions.
It also invites reflection on how language is to be treasured, promoted, enriched by useful usage and to be set into a contemporary context, where the young generation is attracted to it – not because of the debate it evokes (read questions), but because of the history and heritage of the language being spoken or discussed. Thus, the language of ‘Vande Mataram’ connects directly to India’s ancient Sanskrit texts, literature, and philosophy. Its style shows how modern works can still carry echoes of classical culture and thought. It also makes us think about how to keep Sanskrit (or any classical language) alive – not as a relic of the past, but as something relevant and useful today. Languages thrive when they are spoken, written, and adapted to new contexts.
The goal is to make young people appreciate Sanskrit not because it is part of a political or ideological argument, but because they feel inspired by its beauty, its role in India’s history, and the heritage it represents. Moreover, anniversaries are more than exercises in nostalgia. The 150th year of ‘Vande Mataram’ is a moment to take stock – to read the poem closely; to remember its role in anti-colonial mobilization; to acknowledge the causes of debate around its imagery; and to consider the civic practice that accompanies public songs.
‘Vande Mataram’ has lived through many journeys – from a spontaneous lyrical expression at a Bengali writer’s desk to a rousing hymn that stirred anti-colonial crowds; from a symbol of devotion and reverence to a subject of translation, debate, and national ritual. Even today, the song continues to remind us how nations are imagined and expressed, through words that are both personal and collective, poetic and political, classical yet deeply popular. The song is a living testament to the powerful fusion of language, art, and patriotism that catalyzed modern India. Rishi Aurobindo Ghose had poignantly remarked that Vande Mataram is “the mantra that gave us our freedom”. The sesquicentennial should be an occasion for both celebration and commemoration of this milestone with honesty and inclusivity. By widening, not narrowing, our civic understanding would be the most fitting tribute to a song that has, for a century and a half, remained one of India’s most enduring moral and emotional harmonies.
(The writer is Programme Executive, Gandhi Smriti and Darshan Samiti.)