essay on national anthem in english

Essay on National Anthem

Students are often asked to write an essay on National Anthem in their schools and colleges. And if you’re also looking for the same, we have created 100-word, 250-word, and 500-word essays on the topic.

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100 Words Essay on National Anthem

Introduction.

The National Anthem is a patriotic song that represents a country’s history, traditions, and struggles. It unites people under a common identity.

Significance

National Anthems play a crucial role in fostering a sense of pride and unity among citizens. They are usually played at public gatherings and national events.

It’s important to show respect when the National Anthem is played. This can be by standing up straight and removing your hat.

The National Anthem is more than a song. It’s a symbol of our shared history and values, promoting unity and respect among citizens.

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Speech on National Anthem

250 Words Essay on National Anthem

A national anthem is a patriotic musical composition representing a country’s identity and pride. It is a symbolic expression of national unity, history, and values, often played during public ceremonies, international events, and sports competitions.

Historical Significance

The tradition of national anthems dates back to the 19th century, with the Netherlands’ “Het Wilhelmus” considered one of the oldest. Anthems often encapsulate significant historical events or struggles, fostering a sense of collective memory and shared heritage.

Cultural Reflection

National anthems reflect the cultural diversity of nations. They vary greatly in style, melody, and lyrics, mirroring the unique traditions, languages, and rhythms of their respective countries. The anthem of Japan, “Kimigayo,” for example, carries the tranquility of Japanese culture, while India’s “Jana Gana Mana” reflects its linguistic diversity.

Symbol of Unity

Amidst diversity, national anthems act as a symbol of unity. They inspire feelings of solidarity and national pride, transcending differences of race, religion, or socio-economic status. When citizens sing their anthem, they express loyalty and commitment to their nation.

Controversies and Debates

Despite their unifying role, national anthems can also be contentious. Disputes often arise over representation, historical accuracy, and inclusivity. For instance, the debate around “The Star-Spangled Banner” in the U.S. highlights issues of racial justice and equality.

In conclusion, national anthems are significant cultural artifacts that embody a nation’s identity, history, and values. While they can be a source of unity, they also reflect societal complexities and can spark important conversations about national identity and inclusivity.

500 Words Essay on National Anthem

The National Anthem is a symbol of pride, identity, and unity for a nation, serving as a musical embodiment of national values and history. It is a unique cultural artifact that intertwines music and poetry to express a country’s collective memory and aspirations.

The Role of a National Anthem

National anthems play a pivotal role in fostering a sense of national identity and unity. They are often performed during national ceremonies, sporting events, and other public gatherings, serving as a reminder of shared history and common values. The lyrics typically reflect the country’s history, struggle for independence, or national characteristics, while the melody often draws on traditional folk music or classical themes, making it easily recognizable and emotionally resonant.

Historical Context

National anthems have a rich and varied history. Some anthems, like the Netherlands’ “Het Wilhelmus,” date back to the 16th century, while others, like South Africa’s “Nkosi Sikelel’ iAfrika,” were only adopted in the 20th century. The circumstances of their creation also vary widely: some were composed in times of war or revolution, others in times of peace. Some were the result of national competitions, while others were adopted unofficially until they were recognized by law.

Symbolism and Interpretation

The interpretation of national anthems can be complex, as they often use symbolic and metaphorical language. This symbolism can be a source of national pride, but it can also lead to controversy. For example, some people may feel that the lyrics of their national anthem do not reflect their personal experiences or beliefs, or that they glorify war or other aspects of the past that are seen as problematic today.

Anthems in a Global Context

In an increasingly globalized world, national anthems can also serve as a tool for international diplomacy. They are often played at international events, such as the Olympics, where they can help to foster a sense of mutual respect and understanding. However, they can also be a source of tension, as when a national anthem is disrespected or misused, it can lead to diplomatic incidents.

In conclusion, national anthems are much more than simple songs. They are powerful symbols of identity and unity, reflecting a nation’s history and values. As such, they deserve to be treated with respect and understanding, both within their own country and in the international community. In this age of global interconnectivity, national anthems continue to serve as a unique tool for expressing national pride and fostering international understanding.

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What Does Your Country’s National Anthem Mean to You?

Does the song reflect the beliefs you have about your country? How might it be changed to include more perspectives and experiences?

By Nicole Daniels

Students in U.S. high schools can get free digital access to The New York Times until Sept. 1, 2021.

In the United States, the national anthem, “The Star-Spangled Banner” by Francis Scott Key, is often performed before sporting events, school functions and other important events. Think about the last time you attended or watched an event on TV where the anthem was played. How did you feel hearing the song? Were you moved by the performance and the lyrics? Did you stand or remove your hat? Or did you feel uncomfortable or unaffected by the song?

If you live in another country, when is your national anthem usually played? How do you feel when you hear it?

Recently, after the Dallas Mavericks had stopped playing it through their first 13 preseason and regular-season home games, the N.B.A. began requiring teams to play the national anthem before games. It was an abrupt reversal of an earlier hands-off approach. In “N.B.A. Says Teams Must Play the National Anthem ,” Marc Stein explains:

Cuban told The New York Times on Wednesday that the Mavericks would follow the policy immediately and play the anthem before that night’s nationally televised home game against the Atlanta Hawks at American Airlines Center. “We are good with it,” Cuban said. Most players and coaches regularly knelt during the national anthem to protest social injustice while the league played out the last three months of the 2019-20 season at Walt Disney World near Orlando, Fla., last summer. Adam Silver, the N.B.A. commissioner, said in December that the league did not intend to enforce its rule that players stand for the national anthem. The league’s 29 teams apart from Dallas had mostly played recorded versions of the anthem before games. “I recognize that this is a very emotional issue on both sides of the equation in America right now, and I think it calls for real engagement rather than rule enforcement,” Silver said in December. In a statement released through the Mavericks, Cuban said: “We respect and always have respected the passion people have for the anthem and our country. But we also loudly hear the voices of those who feel that the anthem does not represent them. We feel that their voices need to be respected and heard, because they have not been. “Going forward, our hope is that people will take the same passion they have for this issue and apply the same amount of energy to listen to those who feel differently from them.”

Why do some feel that “The Star-Spangled Banner” does not represent them? In “ African-Americans and the Strains of the National Anthem, ” an Opinion essay from 2018 written in response to the N.F.L. player Colin Kaepernick’s original anthem protest, Brent Staples writes:

African-American anthem dissidents are heirs to a venerable tradition of critical patriotism that dates to what W.E.B. Du Bois termed “double consciousness” — the feeling of being part of the American polity yet not fully of it. This insider-outsider status has driven a longstanding struggle among black Americans to find room in a civic and political system that was built to deny them full citizenship. The “Star-Spangled Banner” itself has been a subject of that struggle since shortly after Francis Scott Key, a slave-owning Washington lawyer, wrote it to commemorate an American victory over the British during the War of 1812. The song would no doubt have been lost to obscurity had the United States military not appropriated it for flag ceremonies beginning in the late 19th century. This history seems innocuous enough until one considers that the song tightened its grip on the country during the height of the lynching era in the South and became popular at baseball games at a time when African-Americans were barred from white baseball. This connection was not lost on the great newspapers of the Negro press, in whose pages the song was referred to as “the Caucasian national anthem.” Black columnists discredited the song by unearthing a long suppressed third stanza (“No refuge could save the hireling and slave/From the terror of flight or the gloom of the grave”) that can be read as reflecting the composer’s embrace of slavery and the anger felt toward British officers who used the promise of emancipation to recruit enslaved African-Americans. By the early 20th century, African-Americans were already turning their backs on the “Star-Spangled Banner” in favor of “Lift Every Voice and Sing” — known as the Negro national anthem — written by James Weldon Johnson and his brother, John Rosamond Johnson. Passages like “We have come, treading our path through the blood of the slaughtered” acknowledge the place of lynching and slavery in the national history.

Students, read both articles, and then tell us:

What do you think about Mr. Cuban’s decision to stop playing the national anthem before games? What do you think about the N.B.A.’s ruling that the song must be played before all games? Who do you think should get to decide whether the anthem is played? Why?

What are your own feelings about “The Star-Spangled Banner” or your own country’s national anthem? Does it reflect what you believe about your country? Do you feel that it represents you and is inclusive of your experiences? Have you ever decided to leave the room, remain seated or kneel during the national anthem as a form of protest? How did it feel to take that action? How did others react to your choice?

Did Mr. Staples’s essay about Black Americans’ experiences of the national anthem resonate with you or change your mind about the song? Why or why not? Whose perspectives and experiences do you believe are left out of your national anthem?

Some critics of America’s national anthem take issue with the song’s author, Francis Scott Key, who, in the 1800s, enslaved people and spoke publicly of African Americans as “ a distinct and inferior race of people .” How much does a writer’s background matter? Should Mr. Key’s actions and beliefs affect whether we use “The Star-Spangled Banner” as our national anthem?

How would you change your national anthem? In December of 2020, the Australian government changed a line in the country’s national anthem from “Australians all let us rejoice, for we are young and free” to “we are one and free,” acknowledging the Aboriginal and Torres Strait Islander people who have lived on the continent for more than 60,000 years. Look at the full lyrics of your national anthem. Are there any words or lines that you would change to make it better reflect your beliefs about your country? If you wouldn’t change anything, tell us why.

Is there another song from the past or present that you think would be more appropriate as your country’s anthem? For example, in the United States, Black Americans have adopted “ Lift Every Voice and Sing ”; some sports teams regularly start their games with “ God Bless America ”; and Jennifer Lopez sang “ This Land Is Your Land ” at President Biden’s inauguration (a song that some Native Americans say perpetuates the erasure of Indigenous experiences ). What song do you think would be most inclusive, meaningful and reflective of your country and why?

About Student Opinion

• Find all of our Student Opinion questions in this column . • Have an idea for a Student Opinion question? Tell us about it . • Learn more about how to use our free daily writing prompts for remote learning .

Students 13 and older in the United States and the United Kingdom, and 16 and older elsewhere, are invited to comment. All comments are moderated by the Learning Network staff, but please keep in mind that once your comment is accepted, it will be made public.

Nicole Daniels joined The Learning Network as a staff editor in 2019 after working in museum education, curriculum writing and bilingual education. More about Nicole Daniels

National Anthem of India

Jana gana mana.

National Anthem of India is a song sung by the people of India on various national occasions to pay respect to the nation. National Anthem of India starts from “Jana Gana Mana Adhinayaka Jaya He” and ends at “Jaya He, Jaya He, Jaya He, Jaya Jaya Jaya Jaya He”. It was written in highly Sanskritised Tatsama Bengali language.

Writer of National Anthem of India

The original national anthem was written by Rabindranath Tagore which was then translated into Hindi and Urdu by Abid Ali. The conversion of original song into the Hindi version by Ali was little different. The full version of the national anthem takes fifty-two seconds to sing whereas the shortened version (having first and last lines) takes 20 seconds to sing.

Translation of National Anthem into English Version

It was again translated into English version by Tagore. The full version of National Anthem is sung using the orchestral/choral adaptation (made by English composer, Herbert Murrill on request of Nehru). Another song (Amar Sonar Bangla) written by Tagore has been selected as the national anthem of Bangladesh.

History of Indian National Anthem

National anthem (Jana-gana-mana) was originally composed by Rabindranath Tagore in Bengali. The Hindi version of the national anthem was adopted in 1950 on 24 th of January by the Constituent Assembly. The lyrics and music of the national anthem was given by Rabindranath Tagore in 1911. It was first sung in Calcutta in the meeting of Indian National Congress on 27 th of December in 1911.

Full version of national anthem was translated to English from Bengali and music was set in Madanapalle (a city in Chittoor district, Andhra Pradesh state).

Importance of National Anthem

National Anthem of a country is the pride of nation and induces a sense of patriotism, courage and nationalism amongst its citizens. It is a way to show respect towards the country and spread the message of unity and harmony. It is also a symbol of freedom, sovereignty and the rich cultural history of the nation. National Anthem in schools helps to nurture the children with the positive vibes of patriotism since childhood and inculcate the feeling of respect and pride towards their country.

Singing of National Anthem is also a way to pay tribute to our great freedom fighters who fought for the country, and it also binds the whole nation with a single thread of unity and nationalism. The National Anthem of India is the praise of our motherland which helps us to feel proud and hopeful about our country. It showcases a distinct identity of our country’s history, culture, tradition, its people and regions.

Lyrics of National Anthem of India

The text of the national anthem written in Bengali is highly sanskritised language (also called as Sadhu Bhasa). It is written completely using nouns which are also used as verbs. The translated version is easily understandable by everyone; however its pronunciation varies in various regions and sung on various national occasions in India. The words and music to the national anthem was given by Late Rabindranath Tagore. Full version of National Anthem consists of five stanzas and takes 52 seconds to sing.

Full Version National Anthem of India

“Janaganamana-adhinayaka jaya he bharatabhagyabidhata!

Panjaba sindhu gujarata maratha drabira utkala banga

bindhya himachala yamuna ganga ucchalajaladhitaraṅga

taba subha name jage, taba subha asisa mage,

gahe taba jayagatha.

Janaganamangaladayaka jaya he bharatabhagyabidhata!

Jaya he, jaya he, jaya he, jaya jaya jaya jaya he…”

Short Version National Anthem of India

Short version of the national anthem consists of only first and last lines. It takes approximately 20 seconds to sing. It is sung on various national occasions.

“Jana-gana-mana-adhinayaka jaya he

Bharata-bhagya-vidhata.

Jaya he, Jaya he, Jaya he,

jaya jaya jaya, jaya he.”

Meaning of National Anthem of India

The original version of the national anthem was translated to the English language and edited in 1950 to make some changes. ‘Sindh’ was replaced by ‘Sindhu’ as ‘Sindh’ was allocated to Pakistan after partition. The English meaning of the national anthem is as follows:

“Thou art the ruler of the minds of all people,

Dispenser of India’s destiny.

Thy name rouses the hearts of Punjab, Sindhu,

Gujarat and Maratha,

Of the Dravida and Odisha and Bengal;

It echoes in the hills of the Vindhyas and Himalayas,

mingles in the music of Yamuna and Ganges and is

chanted by the waves of the Indian Sea.

They pray for thy blessings and sing thy praise.

The saving of all people waits in thy hand,

Thou dispenser of India’s destiny.

Victory, victory, victory to thee.”

What is Code of Conduct of National Anthem

The code of conduct is the set of rules and regulations which should be followed while singing or playing the national anthem. There are some instructions which are issued from time to time by the government of India regarding the correct version of the anthem. The set timing of the national anthem to be sung is 52 seconds. Some of the rules and regulations have been made in order to pay respect and honour to the national anthem.

A law (The Prevention of Insults to National Honour Act, 1971) has been implemented by the Indian government to prevent the intentional singing of National Anthem or insulting in any way shall be punished with the imprisonment of term (may be extended to three years) including fine. Following are the rules and regulations which shall be followed while playing or singing full version of the anthem:

It can be sung when National Salute, parade etc is performed at some ceremonial occasions and formal State functions (organized by the government or public) in the presence of President, Governor, Lieutenant Governor etc.
It can be sung before and after President’s addresses to the Nation and arrival of Governor or Lieutenant Governor.
When presentation of regimental colours and hoisting of colors in Navy takes place.
When special orders are issued by Indian Government on any occasion. Generally it is not played for Prime Minister however at some special occasions it may be played.
When it is played by band, it should be preceded by roll of drums or when played to perform National Salute by a guard the drum roll duration must be 7 paces in slow march. First drum roll should be started slowly and go as loud as possible and again decrease to normal.
When National Flag hoisting takes place on any cultural occasions.
It can be sung in the schools in the morning before starting the day’s work by the students but proper manners should be maintained by the school authorities.
All the audience must stand up and give attention while national anthem is sung or played.

Why theatres stopped playing the National Anthem in 1975

Earlier to 1975, there was a custom to play the national anthem in the theatres after the film. However, it was later removed because of the disrespect of National Anthem by the people as they were not standing up and giving proper attention.

Again Supreme Court of India, on 30 th November 2016 made it mandatory to play National Anthem in movie theatres before the screening of movies to instill the sense of patriotism among people. However due to many controversies and violent incidents arising after the order, Supreme Court, on 09 th January 2018, reversed the order of making it mandatory to play National Anthem in movie theaters.

Related Information:

Independence Day

Republic Day

National Song of India

Prime Ministers of India

Presidents of india.

National Animal of India - Royal Bengal tiger

National Symbols of India

National Flag of India

10 Lines on National Anthem

National Anthem of India is sung by the people of India to evoke the history of India’s struggle for freedom. ‘Jan Gana Mana’ is the official national anthem recognized by the government of India which is played and sung on number of occasions including cultural and national events. National Anthem helps in preserving and reinforcing the strong traditional culture by spreading the message of tolerance to pluralism across the world. It also evokes the true sense of patriotism in the heart of the people making them remember the sacrifices of our great freedom fighters and leaders.

10 Lines on National Anthem in English

We are providing 10 lines, 5 lines, 20 lines, few lines and sentences on National Anthem in English for Class 1, 2, 3, 4, 5 and 6. After reading these lines you will be able to know everything about National Anthem. You can add these lines in your essays and paragraph writing in your exam as well as in the school competition.

1) “Jan Gan Man” is the National Anthem of India.

2) It was written in 1911 by Rabindra Nath Tagore.

3) It has a total of five paragraphs.

4) The original song was written in the Bengali language.

5) It was translated in Hindi by Captain Abid Ali.

6) It is sung everywhere in the nation in Hindi language.

7) We sing the national anthem in schools in morning prayers.

8) We should stand when the national anthem is sung.

9) It is sung when national flag is hoisted on national festivals.

10) It brings the feeling of patriotism and unity among us.

10 Lines and Sentences on National Anthem

1) Every nation has its own national anthem in the world.

2) The national anthem of any nation depicts its culture and history.

3) The national anthem of India is ‘Jan Gan Man’.

4) Our national anthem is a pride for every Indian.

5) It was created by noble laureate Rabindra Nath Tagore in 1911.

6) It was sung for the first time in Calcutta on 27 December 1911.

7) It was officially accepted as the national anthem of India on 24 January 1950.

8) It is always sung as a token of respect on different occasions.

9) The time taken in singing the complete national anthem is 52 seconds.

10) We must maintain silence and stand when the national anthem is sung.

5 Lines on National Anthem

1) Our National Anthem is ‘Jan Gan Man’.

2) It was written by Ravindra Nath Tagore.

3) It was originally written in Bengali.

4) It consists of 5 stanzas.

5) We sing this at every national event.

20 Lines on National Anthem

1) National Anthem of India is the patriotic musical composition which is ‘’Jana Gana Mana” composed by Rabindranath Tagore.

2) The national anthem of India was originally written in ‘sanskrit tatsama’ Bengali language.

3) “Jan Gana Mana” was officially adopted by Indian constituent assembly as national anthem on 24 th January, 1950.

4) The national anthem consists of five stanzas and the duration of playing its full version is 52 seconds.

5) The national anthem of India is sung on various occasions flag hoisting, school prayers, national festivals etc.

6) The national anthem is often sung across nation in national language which is ‘Hindi’.

7) The proper guidelines have been issued from the government and the Supreme Court of India which should be followed while singing the national anthem.

8) Every citizen of India should stand respectfully while the national anthem is being played or sung on any occasion.

9) The Prevention of Insults to National Honour Act, 1971 is the act enacted by the parliament of India to prevent the insult of national anthem.

10) Offence to the act by preventing the singing of the Jana Gana Mana is punishable and may lead to the imprisonment for a year and fine or both.

11) National Anthem of India represents the country’s unique identity to the world.

12) National Anthem acts as a symbol of unity among its citizens as it is sung by people of different communities with the same spirit of patriotism.

13) The five stanzas of ‘Jan Gana Mana’ show the country’s rich, diversified culture and colourful history.

14) The entire lyrics and music of anthem was composed by Rabindranath Tagore in 1911 and was first sung in Calcutta on 27 th December, 2011.

15) Citizens play or sing the national anthem on various occasions like during the prayer in schools, celebration of national events, sports meet etc.

16) ‘Jana Gana Mana’ strengthens the idea of unity in diversity as people from different communities sing the anthem together with full of passion towards nation.

17) In 2016, Supreme Court made the playing of national anthem mandatory in theatres before every movie in order to instil the patriotism among citizens.

18) On cultural occasions, national anthem is played after hoisting ceremony of national flag.

19) National anthem is played before and after the arrival of President or Governor from a formal ceremony.

20) National anthem is also played during the presentation of regimental colours of Indian army.

‘Jana Gana Mana’ appeals greatly to the people from various sections of society by evoking patriotic emotions and bringing a sense of pride and honor. Whenever the national anthem is played live we should stand attentively in honor to pay respect to the freedom fighters who have sacrificed their lives for the nation.

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National Anthem of India – Jana Gana Mana, Meaning, History and Facts

Table of Contents

National Anthem of India Jana Gana Mana, composed originally in Bengali by Rabindranath Tagore, was adopted in its Hindi version by the Constituent Assembly as the National Anthem of India on 24 January. It is played on occasions of national importance.

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Target Exam ---

The National Anthem of India is a song sung by the people of India on various national occasions to pay respect to the nation. National Anthem of India starts from “ Jana Gana Mana Adhinayaka Jaya He ” and ends at “ Jaya He, Jaya He, Jaya He, Jaya Jaya Jaya Jaya He ”. The national anthem of India is a very short composition consisting of only fifty-two words. It is very simple and easy to remember. It is sung in the key of E flat major. It has a duration of about fifty-two seconds. The national anthem is very inspiring and it instills a sense of patriotism among the people.

Writer of National Anthem of India

Translation of Jana Gana Mana into English Version

History and Importance of Jana Gana Mana

National anthem (Jana-gana-mana) was originally composed by Rabindranath Tagore in Bengali. The Hindi version was adopted in 1950 on 24th of January by the Constituent Assembly. The lyrics and music of the national anthem was given by Rabindranath Tagore in 1911. It was first sung in Calcutta in the meeting of Indian National Congress on 27th of December in 1911.

Full version of national anthem was translated to English from Bengali and music was set in Madanapalle (a city in Chittoor district, Andhra Pradesh state).

Importance: National Anthem of a country is the pride of nation and induces a sense of patriotism, courage and nationalism amongst its citizens. It is a way to show respect towards the country and spread the message of unity and harmony. It is also a symbol of freedom, sovereignty and the rich cultural history of the nation. In schools helps to nurture the children with the positive vibes of patriotism since childhood and inculcate the feeling of respect and pride towards their country.

National Anthem of India adopted On

The Indian national anthem, Jana Gana Mana, was officially adopted on January 24, 1950. This was the same day that the Constitution of India came into effect, and the country was declared a republic. The national anthem was chosen by the Constituent Assembly of India after considering several songs and ultimately selecting Rabindranath Tagore’s composition.

Lyrics of Jana Gana Mana Of India

The anthem is a poetic representation of India’s diverse heritage and shared destiny. The anthem’s lyrics have a profound and symbolic meaning, celebrating the diverse cultural and geographical aspects of India. Here are the lyrics of National Anthem Of India:

Jana Gana Mana Adhinayaka Jaya Hey, Bharat Bhagya Vidhata Punjab Sindh Gujarat Maratha, Dravida Utkala Banga Vindhya Himachal Yamuna Ganga, Uchchala Jaladhi Taranga Tava Shubha Namey Jage, Tava Shubha Ashish Mage Gahe Tava Jaya Gatha Jana Gana Mangala Dayaka, Jaya Hey Bharat Bhagya Vidhata Jaya Hey Jaya Hey Jaya Hey Jaya Jaya Jaya Jaya Hey.

Full Version National Anthem of India

“Janaganamana-adhinayaka jaya he bharatabhagyabidhata!

Panjaba sindhu gujarata maratha drabira utkala banga

bindhya himachala yamuna ganga ucchalajaladhitaraṅga

taba subha name jage, taba subha asisa mage,

gahe taba jayagatha.

Janaganamangaladayaka jaya he bharatabhagyabidhata!

Jaya he, jaya he, jaya he, jaya jaya jaya jaya he…”

Short Version

Short version of the national anthem consists of only first and last lines. It takes approximately 20 seconds to sing. It is sung on various national occasions.

“Jana-gana-mana-adhinayaka jaya he

Bharata-bhagya-vidhata.

Jaya he, Jaya he, Jaya he,

jaya jaya jaya, jaya he.”

Meaning of National Anthem of India

“Thou art the ruler of the minds of all people,

Dispenser of India’s destiny.

Thy name rouses the hearts of Punjab, Sindhu,

Gujarat and Maratha,

Of the Dravida and Odisha and Bengal;

It echoes in the hills of the Vindhyas and Himalayas,

mingles in the music of Yamuna and Ganges and is

chanted by the waves of the Indian Sea.

They pray for thy blessings and sing thy praise.

The saving of all people waits in thy hand,

Thou dispenser of India’s destiny.

Victory, victory, victory to thee.”

Also Read: Difference between National Anthem and Song

What is Code of Conduct of National Anthem?

It can be sung when National Salute, parade etc., is performed at some ceremonial occasions and formal State functions (organized by the government or public) in the presence of President, Governor, Lieutenant Governor etc. It can be sung before and after President’s addresses to the Nation and arrival of Governor or Lieutenant Governor. When presentation of regimental colours and hoisting of colors in Navy takes place. When special orders are issued by Indian Government on any occasion. Generally it is not played for Prime Minister however at some special occasions it may be played. When it is played by band, it should be preceded by roll of drums or when played to perform National Salute by a guard the drum roll duration must be 7 paces in slow march. First drum roll should be started slowly and go as loud as possible and again decrease to normal. When National Flag hoisting takes place on any cultural occasions. It can be sung in the schools in the morning before starting the day’s work by the students but proper manners should be maintained by the school authorities. All the audience must stand up and give attention while national anthem is sung or played.

Why theatres stopped playing the National Anthem in 1975?

Again Supreme Court of India, on 30th November 2016 made it mandatory to play National Anthem in movie theatres before the screening of movies to instill the sense of patriotism among people. However due to many controversies and violent incidents arising after the order, Supreme Court, on 09th January 2018, reversed the order of making it mandatory to play National Anthem in movie theaters.

Related Information:

Independence Day
Republic Day
National Song of India

Frequently Asked Questions (FAQs)

What is the national anthem of india.

The National Anthem of India is Jana Gana Mana, composed by Rabindranath Tagore.

When was the National Anthem adopted?

The National Anthem was adopted on January 24, 1950, the same day India became a republic.

What language is the National Anthem in?

Jana Gana Mana translates to Thou Art the Ruler of the Minds of All People in English.

Who wrote the National Anthem?

The National Anthem was written by Rabindranath Tagore, a prominent poet, and philosopher.

What is the significance of the National Anthem?

The National Anthem represents the unity and diversity of India and invokes a sense of patriotism among its citizens.

On which occasions is the National Anthem sung?

The National Anthem is sung on various national and patriotic occasions, such as Independence Day, Republic Day, and other official events.

How should the National Anthem be respected?

When the National Anthem is played or sung, people are expected to stand in attention and show respect, with men removing their hats or headgear.

EssayEmpire

National anthems essay.

National anthems, songs, or hymns adopted by certain nations are performed at official functions of those governments or other public events (baseball games, concerts). Many evoke loyalty to the country or its head of state (king, queen). Text and melody are often written by two or more different people.

Origins Of Anthems

Occasionally there is a noteworthy composer, such as Josef Haydn (Austria, Germany), or Charles Gounod (Vatican), associated with a nation’s anthem. The original Austrian anthem was composed by Haydn in 1797. Germany adopted this tune, applying the text in 1950. The current Austrian anthem, adopted in 1947, is attributed to Wolfgang Amadeus Mozart, although evidence shows it was composed after his death.

Former colonies sometimes use the anthems of the countries that colonized them, and sometimes multiple countries in geographical proximity have identical anthems (Cape Verde and Guinea-Bissau). Some countries’ anthems use words of the same author or poet: Rabindranath Tagore’s text for the anthems of India and Bangladesh; Francisco Esteban Acuña de Figueroa’s text for the anthems of Paraguay and Uruguay. Estonia and Finland use the same melody.

Musical Forms Of Anthems

Today, there are five principal musical forms used in anthems, although others exist. Most tend to be in a duple meter (two or four beats per measure), and a few others in triple meter (three beats per measure).

Hymns. This form tends to be used in the oldest national anthems, including those of England, continental Europe, and their former colonies. Most noteworthy is Thomas Arne’s 1745 rendition of God Save the King, the British hymn. Words have often been altered to reflect another nation’s patriotism, as in America’s version of the tune, My Country ’Tis of Thee. Denmark, Sweden, Switzerland, Russia, and Germany have also used this tune as their anthems. Liechtenstein does today. Until 1974, Australia used God Save the King/Queen, as did Canada until 1980.
Marches. France’s La Marseillaise, adopted in 1795, is also the national anthem of nine other countries, from Martinique to New Caledonia.
Folk music. Cambodia’s Som pouktepda (Heaven Protects Our King), was adopted in 1941. Japan, Tibet, and Sri Lanka also based their anthems on folk music. Mauritania’s national anthem, based on a traditional tune, is instrumental only.
Fanfares. These are often instrumental, without text. This form has been adopted by Middle Eastern nations, such as Qatar, Kuwait, and the United Arab Emirates. For Belarus, the words are not in use today.
Operatic anthems. These are prevalent in Central and South America, that of El Salvador being one of the longest.

Contents Of Anthems

Anthems may evoke different emotions, based on their geographic origins. Countries in peace have generally chosen anthems that highlight their scenic or natural beauty. These extol the virtues of the land. Australia refers to the radiant Southern Cross, Barbados to fields, and Burundi to a gentle country. Chile extols its blue sky and snow-covered mountains. China highlights the Great Wall.

Some focus upon a national hero, such as Denmark’s King Christian. Similar to that of the United States (Star-Spangled Banner), the anthem of Honduras salutes its flag (Tu bandera es un lampo de cielo [Your Flag is a Strip of Sky]). Others describe the colors and features of their flag in song (Costa Rica, Djibouti, Ghana, the Maldives). Some praise their freedom or liberations—Andorra’s reflects on eleven centuries of freedom. Those of Angola and the Comoros invoke their days of independence. Others identify the name of the nation (Malawi, Kyrgyzstan, Papua New Guinea).

Several anthems are prayers, such as God Save the King of Britain. In religious overtones, Bhutan’s extols the Thunder Dragon and Buddha, while Brunei’s exalts Allah. Many others speak to their gods, while India’s finds salvation in seven major religions. La Marseillaise served as a call to arms, not only for France, but to some extent for the Confederate States of America.

Unofficial And Changing Anthems

At times, unofficial anthems have inspired allegiance to a new cause or produced ire in a nation’s opponents. During the U.S. Civil War (1861–1865), John Brown’s Body, set to a melody of William Steffe, was assigned new text by Julia Ward Howe as the Battle Hymn of the Republic. This tune and the Star-Spangled Banner were also used in temperance songs, with altered text suited to that political issue. When the Confederate States of America formed, several songs became unofficial anthems, the leading one being I Wish I was in Dixie, by Daniel Decatur Emmett, a northern minstrel performer. Another song, The Bonnie Blue Flag, composed by Harry McCarthy and harmonized and published by A. E. Blackmar in New Orleans, so infuriated Union General Benjamin Butler that in 1862 he destroyed the publishing house of Blackmar and fined any one even whistling the tune.

During times of crisis, other national songs become unofficial anthems, as when, in the post-9/11 United States, God Bless America was sung during baseball games. Some unofficial anthems are covert. A national anthem of Tibet, based on ancient Tibetan sacred music and with words by Trijang Rinpoche, is not used inside Tibet.

Regime changes have caused several anthems to change as well. In 1941, Cambodia adopted Nokoreach (“Royal Kingdom”), which started with the phrase, “Heaven protects our king.” But in 1970 the Khmer Rouge chose an anthem that began, “Khmers are known throughout the world as descendants of glorious warriors.” From 1975 to 1989, Kampuchea (the renamed totalitarian state of Cambodia) used another anthem. In 1993, Cambodia reverted to the 1941 anthem. In 1978, during its Cultural Revolution, China attempted to change its anthem’s words, but the original words were restored by 1982. Cuba’s anthem has remained the same for nearly a century and a half, having first been sung in 1868 during the Battle of Bayamo.

Bibliography:

Nettl, Paul. National Anthems. 2nd, enl. ed. New York: Frederick Ungar, 1967.
Reed,W. L., and M. J. Bristow, eds. National Anthems of the World. 9th ed. New York: Cassell, 1997.
Slovak Radio Symphony Orchestra, Peter Breiner, conductor. The Complete National Anthems of the World. 2005. Marco Polo 8.225319–8.225326.

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OUR NATIONAL ANTHEM: Essay Topics

OUR NATIONAL ANTHEM

Jana-Gana-Mana, an inspiring song composed by the great poet, Rabindra Nath Tagore is the national anthem of India. The complete song consists of five stanzas, but only the first stanza is our national anthem. The song in Bengali was first published under the title “Bharat Vidhata” in a magazine of which Rabindra Nath Tagore was the editor. The poet himself translated it into English under the title “The Morning Song of India”. Soon after the independence, on 15 August 1947, a need for national anthem was felt. The Indian delegation to the United Nations was asked for its national anthem, which was to be played on a particular occasion. As no official anthem was there, a record of Jana-Gana-Mana was handed over. The song was picked up and played by the UN orchestra as it was greatly acclaimed by all. It was adopted as our national anthem on 24 January 1950. The national anthem is played on Republic Day and Independence Day every year at the time of hoisting the national flag. It is also played at the national salute given to the President of India, Governors of states and visiting foreign heads. It is also played on all ceremonial occasions in fields as diverse as sports, culture and education. In schools, it is sung in morning assembly. At the end of public function also, it is sung. The national anthem should be completed within 52 seconds. While singing the anthem we should stand in attention position.

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What is Anthem?

Anthem is Ayn Rand’s classic tale of a dystopian future of the great “We”—a world that deprives individuals of a name or independence.

In all that was left of humanity there was only one man who dared to think, seek, and love. He lived in the dark ages of the future. In a loveless world, he dared to love the woman of his choice. In an age that had lost all trace of science and civilization, he had the courage to seek and find knowledge. But these were not the crimes for which he would be hunted. He was marked for death because he had committed the unpardonable sin: He had stood forth from the mindless human herd. He was a man alone. He had rediscovered the lost and holy word—I.

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Winning essays must demonstrate an outstanding grasp of the philosophic meaning of Anthem .

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Understanding, contest timeline, discover the power of anthem.

The main character, Equality 7-2521, tells us he is a sinner and criminal. But what crimes has he committed? Being alone, writing, having personal preferences. He is “cursed” with an active, questioning mind in a society where every institution aims to crush independence and instill obedience to the authority of the collective.

Intelligent and inquisitive, Equality 7-2521 longs to become a scientist and devote his life to discovery and invention. Instead, he is beaten by his teachers and assigned the life work of street sweeper. When, against all odds, he rediscovers the secret power of a lost relic from the ancient past, he must confront the full reality of his society’s ideals.

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Garnet Valley High School

Glen Mills, Pennsylvania

United States

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Busan Foreign School

South Korea

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Global Vision Christian School

Mungyeong-Si, Gyeongsangbuk-do

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Irvine, California

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Belmont, Massachusetts

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10th grade student

Towle Institute

Hockessin, Delaware

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Restorative and Reflective Nostalgia in Lana Del Rey’s “National Anthem”

Del rey’s reconstruction and rewriting of the 1960s.

Mallika Vijayakumar Student

In this essay, I analyze Lana Del Rey's music video entitled "National Anthem" against Svetlana Boym's essay "Nostalgia and its Discontents". I explore the ways in which Del Rey's video aligns with Boym's theories of restorative and reflective nostalgia: the tension between Del Rey's longing to reconstruct 1960s America and savouring it for what it was. I introduce the political and racial dynamics of the 1960s to inform Del Rey's depiction, and parallel them with present-day America to critique American culture then and now.

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National Flag Essay for Students in English

Essay on National Flag

'The symbol of the nation'

'The symbol of unity of population'

Here I am talking about the thing which is mighty for all Indians, for which every Indian is mad for serving, it is the only thing for which all Indians think about their religious and caste boundaries. So here the thing I am talking about the national flag of India i.e. TIRANGA (Means the combination of three colours). The history of Tiranga was very old. Mahatma Gandhi first spoke about the need for an Indian flag in 1921. He proposed a flag with the charkha or spinning wheel at the center and if we talk about its look it is not always like that as we have seen today. In the nearby time of 1947, it was of three colours in which saffron is at the top, white is at middle and green is at the bottom.

In the middle of which there is a charkha that is known as Ashok Chakra. In it saffron represents sacrifice, white represents peace, green color represents progress and charkha represents the spirit of swadeshi. To represent Gandhi Ji’s fight for freedom but nowadays we are seeing it as in the same colours with the same message but with chakra, in place of charkha as the symbol of the wheel of duty with 24 spokes it is the only reason for what designers have put it in the flag. The designer who designed the modern flag is Pingali Venkayya. The flag has been designed on the bases of swaraj flag or the flag of Indian National Congress.

Importance of National Flag:

It means a lot not only for the officials of the country but also for civilians. But now people are becoming careless day by day as we can easily see on the occasion of any national festival people buy them and move throughout the day with it but the scenario of next day is like that all those flags were lying on the grounds and none of us pick up them but I think it is not our fault it is the fault of being seniors who told us about good jobs, earning, careers but never told us about Saheed Bhagat Singh, Subhash Chandra Bose and many other martyrs who sacrificed their lives to bring independence because if our seniors told us about all of them so then we come to know the value of this flag for raising of which our country had loosed many precious gems.

So now I think that from today we shall take the pledge to respect our national flag and follow all its conveyed messages for the betterment of our country and to raise our national flag at the top of the world and we all know that it is India’s heritage to see all the countries of the world as a family. So that all countries will see India not only as the world leader but also as the father of all countries. As the work of the father is to guide the family members and maintain harmony. India and its flag also get such opportunity and respect and we all know that it is the heritage of India to see the whole world as the family.

Existence Across the World:

The national flag is a symbol of our country, it gives us the same patriotic feeling where we go and make our country proud. Currently in entertainment zones as well whether you watch any movie it is mandatory to stand for the national anthem to show respect for our country, in schools children sing the national anthem every day followed by their regular prayer, any government and private sector of the organization also hoist flags and pay tribute on those special occasions.

No matter where we live it’s our integrity towards our nation to celebrate special days i.e. 15 August or 26th January across the world. This shows the love and integrity of India. Our Indian National flag has made a wide existence across the globe. People are making India proud by achieving a good name and fame in various sectors or industries.

The national flag of any country is not only the symbol of that nation but also the symbol of the unity of its population. The Indian flag is the one emblem that we all look at, and dedicate our lives to serving, in some way or the other; the appearance of the flag makes all caste and religious boundaries disappear.

The national flag of India is known as the ‘Tiranga’ - for the three colors represented in it, saffron, white, and green.

It was Mahatma Gandhi in the year 1921 who first spoke of the need for an Indian flag; he always spoke of the need for the spinning wheel or ‘charkha’ on the flag, although the appearance of the flag has changed many times throughout the years.

Around the year 1947, the flag was mostly finalized - the tricolor, with saffron at the top and green at the bottom, sandwiching the white in the middle with what is known as the Ashoka Chakra upon it. Each element of the flag represents something; the saffron represents sacrifice, white for peace, green for progress, and finally, the charkha represents the spirit of ‘swadeshi’. The main difference made since then is the removal of the charkha and replacing it with the chakra, the wheel of duty with 24 spokes.

The flag as we know it today has been designed by Pingali Venkayya, who based it upon that of the Indian National Congress, or the Swaraj flag.

For every patriot we find today, there was a freedom fighter who helped make it possible for these patriots to shine today. While it is important to focus on our futures, we must remain aware that such a future would not even be possible without the likes of Shaheed Bhagat Singh, Subhas Chandra Bose, and other martyrs who lived and died fighting for the flag and the freedom it represents, and all the opportunities it brings with it for all citizens of India, past, present, and future.

As students, we must take a pledge to respect our national flag with great veneration, and follow all of its prescribed tenets with temerity. It is us as citizens who can bring India up to its true potential, and secure its place on the world stage. It is up to us to share our heritage, and we can only do it once we ourselves are aware of it

Existence Across the world

The national flag exists to give us a united sense of patriotism wherever we go, as it is the foremost symbol of our country; it is emblematic of what India as a country represents.

India as a country has made respect for the flag impossible to avoid, and thereby imbibes in people young and old the importance of this one piece of cloth. It is mandatory to stand for the national anthem accompanied by the flag whenever one goes for any movie or concert; children in school sing the national anthem in praise and respect of the country and its flag; flags are hoisted in both public and private spaces, and tributes are often paid.

FAQs on National Flag Essay for Students in English

1. What Do 3 Colours on the Flag Represent?

The Indian national flag has three colours i.e. saffron, white and green, these all colours signifies courage, sacrifice, peace and faith respectively. And Ashoka Chakra in the centre represents the wheel of the law.

2. Who designed the current Indian National Flag?

Pingali Venkayya was the one who designed the Indian national flag as we know it now, based upon the design of the Swaraj flag, of the Indian National Congress before the time of Independence; this was the design made by Mahatma Gandhi, whose wheel or charkha symbolized the previous Indian goal of becoming self-dependent.

3. What Does Tiranga Symbolize?

The Tiranga, our National Flag was designed as a symbol of freedom, and the ultimate meaning of the Tiranga is to symbolize independence. The colors of our national flag with equal proportions of the deep saffron color on the top, the white color in the middle and the dark green color at the bottom, all have significant meanings. The saffron stands for courage, sacrifice and the spirit of renunciation. The white stands for purity and truth and the green stands for faith and fertility.

4. What is the Indian flag composed of?

The Indian National flag, also known as the Tricolor or the Tiranga, is composed of the three colors of saffron, white, and green, each representing sacrifice, peace, and progress respectively. At the very center of the flag, in the white shade, lies what is known as the Ashoka Chakra, coloured blue - it is the wheel of duty.

5. Where can we get sample essays?

Essay writing is important for all school students, especially for those in the junior classes. It is important to be able to practice some of the sample essays to do well in exams. The online portal, Vedantu.com offers important questions along with answers and samples of essays on various topics, and also on ‘The National Flag’, along with other very helpful study material on essays, that have been formulated in a well structured, well researched, and easy to understand manner. These study materials and solutions are all important and are very easily accessible from Vedantu.com and can be downloaded for free.

6. What is the Importance of the National Flag?

In modernized India, it is easy to get caught up in urbanity and forget the importance of the national flag; the truth is, it isn’t merely officials who ought to have great reverence for the flag, but all ordinary civilians as well.

It is not that we aren’t taught about how important this flag is, but we often tend to forget the very symbol of our freedom while taking our freedom for granted. As citizens of India, our Indian national flag represents our past, our present, and even our future.

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Full Stanza, Other Details You Should Know About Old National Anthem

The old anthem, ‘ Nigeria , We Hail Thee’ composed when Nigeria gained independence on October 1, 1960, was replaced with the ‘Arise O’ Compatriots’ version in 1978.

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The bill, sponsored by the Senate Leader, Senator Opeyemi Bamidele (Ekiti Central), enjoyed overwhelming support from the lawmakers.

The full stanza of the old and reintroduced national anthem

In supporting the bill, the lawmakers argued that it would promote a better symbol for unity, peace, and prosperity than the current one.

The lawmakers noted that the current national anthem was a product of the military junta, decreed by the military, and should, therefore, give way to the independence anthem, which captures national values, ethics, and norms.

Lillian Jean Williams, a British citizen living in Nigeria before independence, wrote the lyrics for “Nigeria, We Hail Thee,” while Frances Berda composed the music .

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Ex-minister Ezekwesili dares Tinubu, rejects new national anthem: “No one can suppress my right”

The anthem significantly shaped Nigeria’s national identity and unity during the 1960s and late 1970s.

The new national anthem

Nigeria we hail thee,

Our own dear native land,

Though tribe and tongue may differ,

In brotherhood we stand,

Nigerians all, and proud to serve

Our sovereign Motherland.

Our flag shall be a symbol

That truth and justice reign,

In peace or battle honour’d,

And this we count as gain,

To hand on to our children

A banner without stain.

O God of all creation,

Grant this our one request,

Help us to build a nation

Where no man is oppressed,

And so with peace and plenty

Nigeria may be blessed.

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Bada Yusuf (Politics and Current Affairs Editor) Yusuf Amoo Bada is an accomplished politics and current affairs editor, boasting over 7 years of experience in journalism and writing. He is a graduate of OAU, and holds Diploma in Mass Comm. and BA in Literature in English. He has obtained certificates in Leadership and received the "Certificate for Breakthrough of the Year 2022" in recognition of his great performance during his first year at Legit.ng. Worked as Editor with OperaNews. Contact: [email protected] or call 08161717844

Wednesday, May 29, 2024

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In Photos: Harvard’s 373rd Commencement Exercises

Thousands of graduates, Harvard faculty, friends, and family crowded into Harvard Yard on Thursday for the University’s 373rd Commencement Exercises. But the usual pomp and circumstance of the ceremony were overshadowed by mass discontent over the decision to bar 13 pro-Palestine College student protesters from graduating. Crimson multimedia staff were there to document the ceremony and the walkout of more than 1,000 attendees in protest.

Before 8 a.m., students from Harvard’s 12 graduate schools and the College process through the Yard. Above, students in Lowell House march through the Yard behind two bagpipe players and a drummer.

Graduating students walk by the John Harvard statue in front of University Hall and tip their caps. The University conferred 7,782 degrees to students at the College and its 12 graduate and professional schools on Thursday.

Graduating seniors gather between Phillips Brooks House and Holden Chapel for Senior Valediction at 9 a.m. Harvard College Dean Rakesh Khurana and outgoing Eliot House Faculty Dean Stephanie Paulsell addressed the seniors before they proceeded to Tercentenary Theatre for the ceremony.

Isabella E. Peña ’24 sings the national anthem at the start of the Commencement ceremony.

Harvard’s Muslim chaplain Khalil Abdur-Rashid Hillel and campus Rabbi Getzel Davis give an opening blessing, marking the first time in Harvard’s history that the University has had two chaplains of different religions as the chaplains of the day.

Interim Harvard President Alan M. Garber ’76 begins his address to seniors by acknowledging that protesters may try to disrupt the graduation ceremony to protest Israel’s war in Gaza. Garber then held a minute of silence for those experiencing “moments of fear, dread, grief and anguish” in the world.

Blake Alexander Lopez ’24 delivered the Latin Salutatory — an address entirely in Latin — at the start of the ceremony. His address was titled “Distantia Propinquior” or “A Nearer Distance.”

Shruthi Kumar ’24 delivered the Senior English Address. She veered off-script from her speech, which was titled “The Power of Not Knowing,” to criticize the University for denying 13 graduating seniors their diplomas after they faced disciplinary charges over their participation in the pro-Palestine Harvard Yard encampment.

Asmer A. Safi ’23-’24 (left), one of the students denied their degree, stands and raises his fist after Kumar’s speech. Kumar received a standing ovation from the crowd, including members of the faculty.

Harvard Law School graduate Robert L. Clinton IV delivered the final student speech: the Graduate English Address. Titled “On Being Good,” Clinton’s speech addressed the seven months of intense scrutiny on Harvard’s campus, acknowledging the 13 seniors denied diplomas and calling on attendees to demand a ceasefire in Gaza.

Harvard Law School graduate Lea H. Kayali waves a keffiyeh during Clinton’s speech. Shortly afterward, Kayali participated in a walkout of more than 1,000 students, faculty, and commencement attendees who then marched to Epworth Church to attend the “People’s Commencement,” at which Kayali delivered the opening address .

Demonstrators at the Commencement ceremony roll up a more than 140-yard-long canvas listing the names of Palestinians killed in the violence in Gaza.

Honorary Harvard degrees were bestowed on six recipients. From left to right: conductor Gustavo A. Dudamel Ramírez; Jeannie Chin Hansen, former CEO of the American Geriatrics Society; Sylvester James Gates Jr., a physics professor at the University of Maryland; and Joy Harjo-Sapulpa, a chancellor of the American Academy of Poets and former U.S. Poet Laureate. Former University President Lawrence S. Bacow and Nobel Peace Prize-winning journalist Maria A. Ressa also received honorary degrees.

Maria Ressa addressed the Class of 2024 as the principal speaker at the Commencement ceremony. In her address to the Class of 2024, Ressa discussed her experience facing repression for her investigative journalism and the importance of searching for truth in a world filled with increasing disinformation.

Following Shruthi and Clinton’s speeches before her, Ressa addressed the campus protests which she said “are testing everyone in America.”

“Protests are healthy; they shouldn’t be violent. Protests give voice; they shouldn’t be silenced,” she said, to applause.

Middlesex County Sheriff Peter J. Koutoujian brought the ceremony to a close shortly before noon, pounding his staff three times to the cheers of attendees.

Detail from a recruitment poster for the Jewish Brigade in Palestine, 1945. Public domain. Courtesy the Eri Wallish Collection at the National Library of Israel . Full image below

On Jewish revenge

What might a people, subjected to unspeakable historical suffering, think about the ethics of vengeance once in power.

by Shachar Pinsker + BIO

Is there a distinctive Jewish perspective on revenge? The question obviously bears on the contemporary world in pressing ways. Revenge is a complex concept about which psychology, anthropology, philosophy, law and other fields offer important perspectives. But one way to answer it is to turn to the history of Jewish life, literature and culture. Here we can find a distinctive feeling and action on a matter that is as old as humanity, a human feeling in response to an injury or harm, and one closely bound to ideals of justice. The mid-20th century in particular, a formative period of Jewish and Israeli existence, has much to tell us about the relationship between violence, revenge, justice, memory and trauma in Jewish and Israeli life.

‘To be My vengeance and recompense’ (translated from Hebrew; Deuteronomy 32:35): recruitment poster by Ernest Mechner and Otte Wallish, for the Jewish Brigade in Palestine, 1945. Public domain. Courtesy the Eri Wallish Collection at the National Library of Israel

Since 7 October 2023, nekama (‘vengeance’ or ‘revenge’ in Hebrew) has emerged as one of the key words in Israeli public life. We’ve heard discussion of nekama from the government, the Knesset, the media, the army, social networks, synagogue bulletins, and in popular culture. Perhaps the most immediate and relevant invocation came on the same day of Hamas’s attack, from the Israeli prime minister Benjamin Netanyahu, who declared: ‘The IDF will immediately employ all its power to destroy Hamas’s capabilities. We will strike them until they are crippled, and we will avenge with full force this black day they inflicted upon the State of Israel and its citizens.’ In the past few months, there were many poems on revenge written by Israelis, some of them IDF soldiers.

L ike many basic concepts, there is really no consensual definition for revenge, or for its relation to near-synonyms such as ‘vengeance’ or even ‘retaliation’ and ‘retribution’. It seems certain, though, that revenge is connected to the realm of emotions and affect, for there can be a desire or a fantasy of vengeance without actualisation. But, of course, it also describes actions. The thirst for revenge animates much of the world of tragic literature , and it is a common element in art, theatre and cinema. Revenge begins within the family or tribe but it expands beyond, to town or sect or king or nation.

Revenge has a distinctive and dynamic relationship to time: it is caused by an act of wrong that happened in the past as an explanation for the present moment, but it is also directed towards the future. Austin Sarat, a scholar of law and politics, explains that vengeance attempts, consciously or not, to reenact the past, as it is ‘one means by which the present speaks to the future through acts of commemoration’. The fact that vengeance looks backwards and seeks to cancel out past actions is one reason why the relationship between revenge and justice is complex. Revenge can indeed be the opposite of justice, a product of utter despair, a kind of empty and final gesture toward restoring one’s shattered self-respect. The scholars Susan Jacoby , Martha Minow and Sarat have all written important work trying to better understand and clarify the connection between revenge and justice. They all would concede that there is an understanding that ‘revenge is a kind of wild justice,’ as Francis Bacon wrote in his essay ‘Of Revenge’ (1625). Most modern systems of law claim authority by distinguishing themselves from revenge, though conceding that feelings for revenge cannot be eradicated. Scholars of politics and law seem to agree that there is no place for revenge in modern international relations. Here too, however, as the scholar Jon Elster has shown , revenge persists, often concealed under more technical and dispassionate terminology about state or national interests.

In the Israeli Jewish psyche, 7 October passes through a filter of collective trauma centred on the Holocaust

Jewish sources give us many, sometimes contradictory, voices on nekama . Many biblical texts prohibit vengeance by human hands, as well as collective Jewish vengeance, although there is an exceptional case of revenge against the people of Amalek, biblical enemies of the Israelites. In post-biblical work, vengeance assumes the form of a divine promise that the redemption of the people of Israel will come to fruition when God enacts revenge upon their enemies. This version of nekama is a kind of eschatological prophecy. The only act of vengeance in the Bible with some elements of the noble, albeit dangerous, tragic revenge we find in the classical Greek literature, is the story of Samson in the book of Judges avenging himself on the Philistines in ancient Gaza. It is not a surprise that some of the poems and popular songs about revenge are focused on Samson.

The violence of the 20th century has profoundly shaped modern and contemporary Jewish views of vengeance. Violence against Jewish people in the past century includes not just the Holocaust but also the Kishinev pogrom in the Russian Empire, the massacre of Jews after the First World War in Ukraine by those who blamed them for the turmoil of the Russian Revolution (which led to the assassination of the Ukrainian politician Symon Petliura by Sholem Schwarzbard), the massacre of Jews in 1929 in Palestine, and more.

Since 7 October, the Holocaust and its memory has re-emerged as particularly central to Israeli and Jewish thinking on vengeance. Immediately following the exposure of the horrors of the Hamas attack, Israeli Jews invoked memories of the Holocaust. Historical basis for such comparisons aside, in the Israeli Jewish psyche, 7 October clearly passes through a filter of collective trauma centred on (but not limited to) the Holocaust. Indeed, the popular perception of Israel, its need for security, and its national narrative of ‘from Holocaust to rebirth’ are inseparable from trauma. Nor is it possible to disentangle the link between the Holocaust and the 1948 Arab-Israeli War, which was both Israel’s War of Independence and the Palestinians’ Nakba (‘catastrophe’).

I n an important 1996 paper , the American Jewish philosopher Berel Lang asked: what is vengeance and revenge in Jewish consciousness worldwide? What about in the Yishuv (the Jewish community in pre-state Palestine), during and after the Holocaust? How did the desire for vengeance, Lang wanted to know, influence the memory of the Holocaust? Lang wondered because there were few attempts (and even fewer successful ones) of revenge by Jews following the Holocaust. It would be wrong to say there was no discussion, however. One needs to understand ways in which, during and following the Holocaust, Jewish desire for vengeance was displaced from direct acts against Nazis or Germans to other, less direct phenomena: for example, the Nazis and Nazi Collaborators (Punishment) Law enacted by the State of Israel in 1950 to bring to court SS soldiers and Nazis; and people such as Simon Wiesenthal, known as ‘Nazi hunters’, who tried to gather information and track down Nazis around the word. The desire for revenge and retribution was also part of the divisive and robust debate around whether Holocaust survivors should accept payment from Germany and around the Reparations Agreement between Israel and the Federal Republic of Germany, which was signed in September 1952.

Abba Kovner (c, back row) with partisans in Vilnius in July 1944. Courtesy Yad Vashem archives.

The ‘Avengers’, a group led by Abba Kovner, a partisan from the Vilna ghetto, are central figures in post-Holocaust Jewish revenge. After the Second World War, the Avengers targeted Germans. Dina Porat’s book Nakam: The Holocaust Survivors Who Sought Full-Scale Revenge (2022) tells their story . An Israeli-German co-produced film, Plan A (2021), is also about the Avengers. This renewed interest in them may create the impression that they were unique, but that is not the case. Kovner, who wished to avenge by killing as many as 6 million Germans, is an extreme figure, but he is not exceptional. As we will soon see, Kovner’s writings and ideology express central concepts in Jewish and Israeli culture that emerged after the Holocaust and in the years surrounding the founding of Israel.

Poets, writers and journalists in Europe and the US discussed Jewish revenge, its possibilities and limits

Even before the full dimensions of the Nazi extermination of European Jewry had been fully revealed, Jews wrote about and engaged in profound debate on the question of revenge. Most of that writing is in Yiddish. Yiddish is the historic language of central and eastern European Jewry, dating back 1,000 years. It is a Germanic language, but fuses Semitic components, as well as Slavic and other elements from where Jews lived. It is a diasporic language. Zionism and, later, Israel rejected it in favour of modern Hebrew as the national language. Despite the fact that most Zionists were Yiddish speakers, it was the language that must be forgotten in the making of Israeli society and culture.

In Kraków, a few months before he was murdered by the Nazis in 1942, Mordechai Gebirtig wrote ‘A Day of Revenge’, a poem in Yiddish that was also put to music. The Soviet poet and member of the Jewish Anti-Fascist Committee Peretz Markish wrote ‘To the Jewish Soldier’ (1943), a Yiddish poem in which the speaker declares: ‘The blood on every road cries out, vengeance.’ Poets, writers and journalists in Europe and the US discussed questions of Jewish revenge, its possibilities and limits. Jacob Glatstein wrote ‘Revenge, Revenge, and Revenge!’ (1944), an article where he considers revenge by European Jews as a desire and principle of justice, while acknowledging, due to their murder by the Germans, its impossibility.

In the mid-1950s, discourse of revenge in Yiddish faded away but, as Lang pointed out, the aspiration did not disappear; it transformed. For example, it shifted towards a search for Nazis in hiding, the Nazis and Nazi Collaborators (Punishment) Law, and fuelled debates about reparations from Germany to Israel. It also moved into other phenomena that generally do not seem directly related to revenge, such as the ‘Stalags’ – a popular, short-lived genre of Holocaust pornographic Hebrew books in Israel that flourished in the 1950s and early ’60s.

D uring and after the Second World War, a parallel but distinct discourse about revenge also arose in Hebrew, an ancient language that was revitalised to become a key aspect of Zionism. The Hebrew-language works came from the poets Uri Zvi Greenberg and Nathan Alterman, who immigrated to Palestine from Europe, and from younger writers born in Palestine. Alterman, the most influential mainstream Hebrew poet of the 1940s, examined vengeance and revenge in his books The Joy of the Poor (1941) and Poems of the Plagues of Egypt (1944), and in poems published in the Labor Zionist newspaper Davar . For example, Alterman wrote ‘A Prayer of Revenge’ in which the speaker seeks divine assistance in carrying out their vengeance:

And what does your servant, supreme Father, seek? Only to stretch out his hand to their necks … And they said: Let there be vengeance. Do not tell him: Have mercy! Do not call him: Forgive! Do not forget, do not forget what they did to him.

Alterman wrote this poem during the Second World War, before Hebrew readers in the Yishuv knew exactly what was going on in Europe. It expressed the sense of vulnerability and frustration, turning to God as a father with a wish for revenge as expressed in ancient Jewish texts, but without making clear who should enact the vengeance.

Vengeance was a motivational force in the decision of young Jewish soldiers who enlisted to serve in Europe

By the end of the Second World War, writing about vengeance in Hebrew had taken on a new significance. A million and a half Jews fought in the armies of the Allied Powers. Writing in Hebrew, however, focused on the 30,000 Jews from the Yishuv who volunteered to fight alongside the British army, especially the Jewish Brigade, numbering about 5,000 men. The Brigade fought on the Italian front in March- May 1945, but most of its activity followed the war. Its significance lay in the fact that the language, flag, symbols and anthem of the Jewish Brigade were Hebrew. Brigade people were active in the paramilitary units of the Haganah and Palmach. The anthem of the Jewish Brigade was written by the poet Yaakov Orland:

Our blood is flowing like a river and fire Our covenant is calling – for vengeance! We swore, we swore, brothers in arms, That none shall return in vain.

Twenty years later, the writer Hanoch Bartov, a Brigade member, wrote in his autobiographical novel Pitzei Bagrut (1965; later translated and published in English as The Brigade ) these words, spoken by the protagonist Elisha Kruk:

Not much: a thousand burnt houses. Five hundred dead. Hundreds of raped women … We’re here to redeem blood. One wild Jewish vengeance. Once, like the Tatars. Like the Ukrainians. Like the Germans. All of us … will enter one city and burn, street after street, house after house, German after German.

It is clear from these texts that vengeance was a motivational force in the decision of young Jewish soldiers who enlisted to serve in Europe as part of the Brigade (some of them had lost family members in Europe), and that at least some of these soldiers expected to be able to take revenge on Germans.

In 1945, Brigade soldiers met for the first time in northern Italy with people of the She’erit Ha-pletah (‘the Surviving Remnant’), Holocaust survivors and refugees, as well as partisans and ghetto fighters. Some of the She’erit Ha-pletah had been active in Zionist youth movements even before the war. Kovner had just gathered in Lublin, Poland, about 50 young men and women who had a burning desire to take revenge against not only the Nazis but the entire German people. The details that captivate the imagination of many in the story of Kovner and the Avengers – ‘Plan A’, the killing of 6 million Germans by poisoning the water supply of major German cities, and ‘Plan B’, the killing of SS officers and Gestapo officials who were imprisoned in prisoner camps – are less important. More significantly, Kovner stands as a bridge between Holocaust survivors, most of whom spoke, read and wrote in Yiddish, and people from the Brigade, who represented the Hebrew Zionist Yishuv. It is the latter who shaped the ethos of the State of Israel, and some of whom later served in senior roles in the IDF and Israel’s security apparatus. This is a significant shift towards revenge as part of the Zionist discourse of military power in the context of conflict with Arabs in Palestine in the years around 1948 and the establishment of the State of Israel.

I n 1944, the Zionist leader and future Israeli prime minister David Ben-Gurion spoke about ‘revenge for the spilled blood’ of European Jews as one of the reasons for establishing the Brigade. By November 1945, Ben-Gurion – the pragmatic politician and statesman – concluded that, after the war, revenge was ‘a matter of no national benefit’ because killing Germans will not bring back those who were murdered, and he silently disavowed Kovner’s plans. Nonetheless, Kovner and the Yishuv formed a significant relationship. Kovner’s family and several members of the Avengers settled in Kibbutz Ein ha-Horesh in March 1946, and Kovner became an influential figure around 1948, when, amid war, the IDF gradually began to form.

As the scholar Uri S Cohen has shown , in the struggle with the Palestinians and Arab states, Hebrew writers and poets, mostly men born in Palestine and known as the Palmach Generation, wrote a great deal about revenge. For example, the novelist Moshe Shamir wrote a series of novels between 1947 and 1951, each featuring a theme of personal and collective revenge, not against the Nazis or Germans, but against Palestinian Arabs. The desire for revenge against Palestinians during the 1948 war coincided with an important transition away from militias such as the Palmach, towards a regular Israeli army. Revenge became a central part of Hebrew militia culture. Nahum Arieli, a commander in the Palmach, wrote about the death of his friend and Shamir’s brother Eliyahu: ‘To gather strength, to organise quietly, and to go out again … to avenge our Eli!’ Instead of Nazis or Germans, revenge against the Arabs served as the emotional core of the literature of the 1948 war. During ‘Israel’s border wars’, between 1949 and 1956, which were essentially a chain of ‘reprisal operations’ dominated by the Commando Unit 101, vengeance remained a driving force. From these conflicts emerged well-known fighters who loomed large in the Israeli and Jewish public imagination, including Ariel Sharon and Meir Har Zion.

The desire for revenge had found an outlet against another group that was causing feelings of threat: the Palestinians

Kovner did not fight in the 1948 war. Instead, he served as a ‘cultural officer’ of the Givati Brigade. Kovner named the commando unit of the Givati Brigade Shu’alei Shimshon (‘Samson’s Foxes’) after the biblical Samson and his foxes who carried the fire of vengeance against the Philistines. In his new role, Kovner wrote ‘battle pages’ with rhetorical force:

With love and with hatred, for the sake of our homes, for the sake of the lives of our children, and the eyes of eighty generations are watching us, and six million souls … call out to us from the earth: Rise, the great revenge – free Israel, forever!

Kovner is many things, a historical and political figure, a writer, but he is also a symbolic and transitional figure because his words and actions during the 1948 war show a profound change: the transition from revenge as a response to the Nazis and Germans to revenge against Arabs. As Netiva Ben-Yehuda, an Israeli author, editor and radio broadcaster who was a commander in the Palmach, wrote years after about the 1948 war: ‘We fixed our guns on the Arabs, we pulled the trigger … and we imagined to kill Nazis.’

For Lang, the displacement ‘at one farther remove’ of revenge against Nazis or Germans onto Arabs was ‘a form of demonisation and aggression’. Lang maintained that it could not be accounted for by the real threats Israel had faced, and that it required ‘disfigured representations’ of Arabs. In its people’s ‘emergence from [the] powerlessness’ of the Holocaust, the State of Israel had found in the Arabs an ‘available target’ for revenge. The Israeli psychologist Dan Bar-On, who for many years studied the relations between Israelis, Germans and Palestinians, suggested that the desire for revenge had found an outlet against another group that was causing feelings of threat: the Palestinians, who are perceived as ‘the natural continuation of the previous aggressor’.

T here are key differences between what people who did not directly experience the horrors of the Holocaust wrote in Hebrew, and what survivors and refugees who arrived in Palestine/Israel after 1945 wrote in Yiddish. Avrom Karpinovitsh’s Yiddish story ‘Don’t Forget’ (1951) deals with a Jewish soldier who arrives in Palestine from a displaced persons camp directly into the battles of 1948, after being conscripted as part of the ‘foreign recruitments’. In Karpinovitsh’s story, the unnamed soldier finds himself alone and disoriented after capturing a Palestinian Arab. The Jewish soldier has no idea what to do with the captive and, in the absence of a common language, they cannot communicate. The captor is terrified but hopes that, if he manages to bring the captive to his commander, he will finally be able to transform himself from a disgraced refugee into a ‘real Israeli soldier’. His plan fails because he cannot find his way in the unfamiliar terrain and the oppressive weather.

The climax of the story occurs when the captive takes advantage of the soldier’s moments of confusion and picks up a stone. At that moment, the prisoner speaks for the first time and says something, presumably in German: ‘You have no right, I am a war cap[tive].’ Instead of considering the status of prisoners of war, the Jewish soldier feels threatened, and his memory leads him to a particularly traumatic moment:

The captive’s hoarse murmur transported him back once again to the earthen hut in the middle of the forest where he and his mother hid after fleeing the ghetto – ‘Don’t forget, my child, to say Kaddish for your dead father. Even if, God forbid, you remain alone, don’t ever forget.’

The Jewish soldier remembers how the Nazi killed his mother brutally in front of him and the cry of ‘Don’t forget’ that he still hears. Now, when he is confronted with the Palestinian captive, he contemplates:

This is him … That same pale face of the Angel of Death. The same cold vicious glance, there in the forest, and here – with the stone. The same killer’s hands with the long fingers that strangled her so powerfully as she cried out … and perhaps this is not the same man?

The protagonist is disgusted with the act of violence and the futility of displaced vengeance

In this harrowing story, it is hard to discern reality from the imaginary. In this traumatic moment, ‘don’t forget’ translates into a call for revenge in the new reality. The Holocaust survivor who becomes an Israeli soldier, in his imagination, turns the Nazi into a Palestinian and brutally kills the captive. At that moment,

Something gnawed at his heart: an unsatisfied thirst for revenge … Suddenly, the picture of his mother, fresh-faced on a Friday evening, surfaced before his eyes. She would never come back to him, not even with a thousand deaths of this murdered man.

The protagonist is disgusted with the act of violence and the futility of displaced vengeance.

The story does not provide answers but only questions. Karpinovitsh’s ‘Don’t Forget’, written in Yiddish by someone who was close to the events of the Holocaust, gives voice to refugees who immigrated to Palestine/Israel and were thrown into the 1948 war, trying to assimilate into Israeli culture immediately after experiencing the horrors of the Second World War. The story asks questions about the power of traumatic memories, and the relations between memory and the desire for revenge as ‘wild justice’, but also reflects on the act of displaced and violent revenge as ultimately futile and harmful.

By the end of the 1948 war, hundreds of thousands of Palestinians became refugees, mostly fleeing to nearby Arab countries. The armistice agreements between Israel and its neighbours drew the new borders for the State of Israel, but violent incidents around these borders were quite common. In October 1953, members of an Arab paramilitary commando group killed a Jewish family in the town of Yehud, which had been depopulated of its Palestinian residents in the 1948 war. Before the ‘reprisal operation’ that occurred after the attack on Jews, Sharon, as commander of Unit 101, wrote in the operation’s orders that the objective was an ‘attack on the village of Qibya, its temporary conquest, and maximum damage to the population with the aim of evacuating the villagers from their homes … by damaging a number of houses and killing residents and soldiers in the village’. Although Sharon’s comment does not mention the word nekama , it must be understood as a vengeful act that became part of the norms for Unit 101 . During the operation, IDF soldiers blew up 45 houses in the village with their occupants, and 69 residents of Qibya, mostly women and children, were killed. Many Yiddish writers were shocked and responded to the massacre. In a New York Yiddish journal in 1964, Glatstein wrote :

Anger, revenge, smoke. A small camp with murder in their eyes. Girded with bow and arrow, In treachery of night …

Glatstein, who’d written about Jewish revenge against the Nazis and Germans in 1944, is furious about the Israeli displacement of vengeance.

The Yiddish-Israeli writer Yossel Birstein also wrote about Qibya in the story ‘Between the Olive Trees’ (1954). Most of the story revolves around Hasan, an elderly Palestinian in the olive grove near ‘the ruined huts from the last war’. At the climax of the story, a soldier stops Hasan and declares his authority as a representative of the armed forces. In the confrontation, a bag of oranges falls from his donkey, and while Hasan bends down and goes ‘on all fours’ to pick them up, the Israeli soldier towers over him and their gazes meet, when the soldier sees Hasan ‘like a pile of rags’. In this brief encounter, the Jewish soldier hears the subdued cry of Hasan, and ‘is confused’ by it. The confusion surely arises from his memory of persecution in the Holocaust, which surfaces and moves the soldier. Hasan, the elderly Palestinian, and the Israeli soldier in the story are both figures who have repressed painful and traumatic experiences that occurred during the Holocaust and the Nakba. The story depicts a Jewish refugee or survivor who, in order to fulfil his new role as an Israeli soldier in retaliatory and vengeful actions like Qibya, is required to see the Palestinian as a threatening enemy and, even worse, as a dehumanised being. Birstein handles the matter with delicacy, but readers can sense in the story the danger of the vengeance’s displacement from Europe to Israel/Palestine, a displacement that leads to dehumanisation.

A s we can see, during and after the Holocaust, European Jews clearly desired revenge, and this feeling persisted for many years, often in complex, displaced ways. The problem raises the question: can the impulses towards revenge be directed to less violent and destructive channels in post-Holocaust Jewish culture? Following in the footsteps of Hannah Arendt ’s discussion of the topic in the book The Human Condition (1958), Lang explains a fundamental difference between two possible responses to acts of wrong or injustice: forgiveness and revenge. In terms of temporality, forgiveness is effectively the attempt to erase what happened in the past, and therefore to try to let a painful memory go. Revenge is different because, in the desire to avenge wrong acts, the past must persist. Because vengeful desire is directed towards the future, it resonates in the present and contributes to the memory of the past by not letting it go. We must understand that memory is something that we choose, too; it requires construction and cultivation . It is not just a natural attribute or a reservoir waiting to be filled. Thus, one can understand a human sense of the need for revenge as a persistent desire for justice and, therefore, as an element to foster memory, both personal and collective, part of a Jewish imperative to ‘never forget’ what happened in the Holocaust.

Rachel Auerbach’s Yiddish story ‘Lullaby’ (1952), which takes place in Israel, also bears out Lang’s observation about the link between the desire for justice and preserving the memory of the Holocaust by survivors and refugees who try to overcome trauma and rebuild their life. Auerbach immigrated to Israel from Europe in 1950. She was one of the chroniclers of the Warsaw ghetto. She founded and directed the testimonial collection department of the newly created Yad Vashem, where ordinary people, rather than historians and politicians, would be able to testify in their own way and words. Auerbach understood memory as an act of overcoming destruction and death through the spiritual effort involved in testifying. In Auerbach’s ‘Lullaby’, the protagonist visits her cousin Reuven, who lost his only daughter, Yosima, a pianist and composer who died in the ghetto. Reuven’s first wife could not bear the loss and took her own life. Later, Reuven became acquainted with Ruth, and they married in Israel. The narrator visits their home with one room dedicated to the memory of Yosima, and the two young children born in Israel: a girl, and a boy with the strange name Kamy , short for Nekamyah (‘God will avenge’).

Vengeance is a human emotion – not an alien element, but rather a part of modern Jewish culture

Reuven and Ruth compose lullabies to Kamy and give different meanings to the name. The father’s lullaby is:

Black crows Tore your sister In the black exile. Black is the diaspora, my son. At dawn, the sun rises, A sun of freedom, And remember, vengeance, my son: Revenge!

The mother’s lullaby is:

Sleep, sleep my precious child, Be strong, upright, With people and with God For the sake of father, For the sake of mother, For the sake of all Israel.

The narrator listens to the two lullabies and reflects on what will become of the child when he grows up. ‘Perhaps he will be a poet, perhaps an actor – someone extraordinary? And perhaps he will be an ordinary person like all others?’ Auerbach’s deceptively simple story is about a specific dilemma of Jews trying to rebuild their life after the Holocaust in Israel. It raises larger philosophical and ethical questions about personal and collective memory, trauma, revenge, justice and the meaning of being human – an ‘ordinary person’ – in dark times, a question that still haunts us today as it did after the Holocaust.

What can we learn from this story and, in general, from the literary cultural analysis I presented here? First, we must acknowledge that vengeance is a human emotion, and it is inescapable – not an alien element, but rather a part of modern Jewish culture. Second, vengeance may lead to collective memory as well as to a cycle of bloodshed. We observed the historical displacement of a desire for vengeance against Nazi Germans, mostly expressed in Yiddish during and after the Second World War, for revenge against Palestinian Arabs, mostly expressed in Hebrew and in Israel around and after 1948. This displacement has existed ever since then and has played an important role in the conflict between Israelis and Palestinians. It was activated most forcefully on 7 October 2023, because of the unprecedented violence of the attack on southern Israel, and the extreme vulnerability of Israeli Jews who sensed that the State of Israel and its army failed in its most basic function, to defend its citizens. This activation of vulnerability is, in no small part, due to the intergenerational collective trauma of the experience of the Holocaust. Because of the displacement of modern Jewish vengeance from Europe onto the Israeli-Palestinian conflict, the vengeful war taking place since 7 October is even more dangerous and tragic. To begin imagining a better future for both Israelis and Palestinians, it is imperative to be more aware of this cultural history with its memories, traumas and numerous blind spots.

An earlier version of this article was published in Hebrew in Hazman Hazeh.

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Manchester United and Liverpool are both set to lose the race to sign French wonderkid Leny Yoro.

THE ATHLETIC

Kevin De Bruyne's camp had one conversation with new MLS side San Diego FC, as the Southern California city is a place De Bruyne would consider if he were to play Stateside.

Everton captain Seamus Coleman says he is yet to decide whether to accept the offer of a new contract, but believes he still has "value" to offer and a "duty" to help the club.

England fans travelling to Germany for the men's European Championship this summer should be "judged on their behaviour, not reputation", says chief constable Mark Roberts, head of the UK Football Policing Unit.

Gareth Southgate explains Marcus Rashford and Henderson omissions

Ashley Young insists he wants to stay at Everton after being offered a new contract by the club and added he would "love to play as long as possible".

West Ham United defender Aaron Cresswell has agreed a one-year extension.

DAILY TELEGRAPH

The threat of a civil war over future governance of the professional game in New Zealand is rising just over a month before England are to play two Tests against the All Blacks, in Dunedin and Auckland, in July.

THE GUARDIAN

Chelsea are prepared to rival Brighton for the appointment of Ipswich's Kieran McKenna after reaching an agreement to part company with Mauricio Pochettino by mutual consent on Tuesday.

Emma Hayes has selected her first squad as United States manager ahead of a pair of friendlies as she prepares to lead the women's national team at the Paris Olympics.

DAILY RECORD

Steven Gerrard has revealed that he is looking to bring in experience to help the Saudi players at Al-Ettifaq with Rangers duo James Tavernier and Connor Goldson being tipped with a move to the Middle East.

Stephen Welsh is set to give double-chasing Celtic a Scottish Cup final boost by returning to training this week.

New Rapid Bucharest boss Neil Lennon insists he has no plans to allow Albion Rrahmani to leave the club amid interest from Rangers.

Brazilian rising star Jefte's move to Ibrox is now a done deal with the full back set to officially become a Rangers player in July, according to a report in Brazil.

Correctly predict six scorelines for a chance to win £250,000 for free. Entries by 3pm Saturday.

Neil Lennon is set to raid former club Celtic for Stephen Welsh to kickstart his Rapid Bucharest transfer spree - with Dundee United's Ross Graham also a target in a Scottish football double swoop.

Outgoing RKC Waalwijk goalkeeper Etienne Vaessen insists he is in no rush to decide his future amid speculation over a move to Celtic.

Jhon Arias reportedly is only interested in a move to England or Spain amid speculation over a switch to Rangers.

SCOTTISH SUN

Rangers have yet to make a formal proposal to Rapid Bucharest for the services of Kosovo international striker Albion Rrahmani, according to reports.

David Gray is a serious contender to become Hibs' manager.

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National Anthem of Ukraine translated into English. Full version. Toronto Diaspora
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Essay on National Anthem
500 Words Essay on National Anthem Introduction. The National Anthem is a symbol of pride, identity, and unity for a nation, serving as a musical embodiment of national values and history. It is a unique cultural artifact that intertwines music and poetry to express a country's collective memory and aspirations.
What Does Your Country's National Anthem Mean to You?
In "African-Americans and the Strains of the National Anthem," an Opinion essay from 2018 written in response to the N.F.L. player Colin Kaepernick's original anthem protest, Brent Staples ...
National Anthem of India (Jana Gana Mana)
4. Mass singing of the National Anthem is to accompany the unfurling of the National Flag. 5. No parody/distortion of words or music of the National Anthem is allowed. Significance. The National Anthem is perhaps one of the most potent declarations of a country's independent status. India is a nation of multiple languages and dialects therein.
National Song of India
The first two verses of Vande Mataram penned by legendary Bengali writer and novelist, Bankim Chandra Chattopadhyay was selected as the National Song of India on January 24, 1950. The song shares the same status as the National Anthem 'Jana Gana Mana' barring certain official dictates. At the time when India achieved independence it ...
National Anthem of India
National anthem (Jana-gana-mana) was originally composed by Rabindranath Tagore in Bengali. The Hindi version of the national anthem was adopted in 1950 on 24 th of January by the Constituent Assembly. The lyrics and music of the national anthem was given by Rabindranath Tagore in 1911. It was first sung in Calcutta in the meeting of Indian ...
10 Lines on National Anthem
10 Lines on National Anthem. 1) "Jan Gan Man" is the National Anthem of India. 2) It was written in 1911 by Rabindra Nath Tagore. 3) It has a total of five paragraphs. 4) The original song was written in the Bengali language. 5) It was translated in Hindi by Captain Abid Ali.
National Anthem of India
The Indian national anthem, Jana Gana Mana, was officially adopted on January 24, 1950. This was the same day that the Constitution of India came into effect, and the country was declared a republic. The national anthem was chosen by the Constituent Assembly of India after considering several songs and ultimately selecting Rabindranath Tagore ...
National Anthems Essay ⋆ Political Science Essay Examples ⋆ EssayEmpire
Slovak Radio Symphony Orchestra, Peter Breiner, conductor. The Complete National Anthems of the World. 2005. Marco Polo 8.225319-8.225326. This example National Anthems Essay is published for educational and informational purposes only. If you need a custom essay or research paper on this topic please use our writing services.
National anthem of England
The Commonwealth Games Council for England conducted a poll of members of the public which decided the anthem for the 2010 Commonwealth Games. The three options were "God Save the Queen", "Jerusalem" and "Land of Hope and Glory". "Jerusalem" was the clear winner with 52% of the vote; "Land of Hope and Glory" received 32% and "God Save the Queen ...
Qaumi Taranah
"Qaumī Tarānāh" (Urdu: قومی ترانہ, pronounced [ˈqɔːmiː təˈɾaːnə]; lit. "National Anthem"), also known by its incipit " Pāk Sarzamīn" (پاک سرزمین, pronounced [ˈpɑːk ˈsəɾzəmiːn]; "Thy Sacred Land"), is the national anthem of the Islamic Republic of Pakistan and formerly the Dominion of Pakistan.It was written in Urdu and Persian by Hafeez Jalandhari in ...
Sayaun Thunga Phulka
The new national anthem was selected from a total of 1,272 submissions made from across the country. It was officially approved on 20 April 2007. [7] On 3 August 2007, "Sayaun Thunga Phulka" was officially declared as Nepal's national anthem by the House of Representatives. The anthem's range is of an octave; having a nadir and apex of D.
National Anthem
Paper Type: 350 Word Essay Examples. "O'er the land of the free and the home of the brave!". When Francis Scott Key wrote these closing lyrics to our national anthem in 1814, he clearly understood what it meant to be free.
OUR NATIONAL ANTHEM: Essay Topics
The poet himself translated it into English under the title "The Morning Song of India". Soon after the independence, on 15 August 1947, a need for national anthem was felt. The Indian delegation to the United Nations was asked for its national anthem, which was to be played on a particular occasion.
Anthem Essay Contest
Choose YourEssay Topic. Select one of the following three prompts about Anthem and write an essay in response to it. Essays must be written in English only and between 600 and 1,200 words in length, double-spaced. Questions? Write to us at [email protected]. Prompt #1. Prompt #2. Prompt #3.
10 Lines Essay on National Anthem
10 Lines Essay on National Anthem in English. Find here ten easy points on National Anthem for Children and Students of all Classes. These few lines and sent...
Restorative and Reflective Nostalgia in Lana Del Rey's "National Anthem
In this essay, I analyze Lana Del Rey's music video entitled "National Anthem" against Svetlana Boym's essay "Nostalgia and its Discontents". I explore the ways in which Del Rey's video aligns with Boym's theories of restorative and reflective nostalgia: the tension between Del Rey's longing to reconstruct 1960s America and savouring it for what it was.
Short Essay on 'National Anthem of India' (150 Words)
Short Essay on 'National Anthem of India' (150 Words) Adya Dixit. The 'National Anthem of India' is the song 'Jana-gana-mana'. It composed originally in Bengali by Rabindranath Tagore. 'Jana-gana-mana' was adopted in its Hindi version by the Constituent Assembly as the national anthem of India on 24 January 1950.
Kenya National Anthem (Text Only)
Kenya National Anthem: Ee Mungo Nguvu Yetu / English: National Anthem Listen to the National Anthem. Kishwahili Words Ee Mungu nguvu yetu Ilete baraka kwetu Haki iwe ngao na mlinzi Natukae na udugu Amani na uhuru Raha tupate na ustawi. Amkeni ndugu zetu Tufanye sote bidii Nasi tujitoe kwa nguvu Nchi yetu ya Kenya tunayoipenda Tuwe tayari kuilinda.
Anchoring Script For National Anthem
Now, as the first note of our national anthem begins to play, let's fill our hearts with a sense of veneration, pride, and respect. Let's embody the spirit of unity and stand shoulder-to-shoulder as we sing along. [National Anthem Plays] Thank you, everyone, for your demonstration of respect and patriotism. Kindly take your seats as we proceed ...
National Flag Essay for Students in English
The Tiranga, our National Flag was designed as a symbol of freedom, and the ultimate meaning of the Tiranga is to symbolize independence. The colors of our national flag with equal proportions of the deep saffron color on the top, the white color in the middle and the dark green color at the bottom, all have significant meanings. The saffron stands for courage, sacrifice and the spirit of ...
Rwanda Nziza
Background. Rwanda's original national anthem, written when the country achieved independence from Belgium in 1962, was called "Rwanda Rwacu" ("Our Rwanda").Independence was achieved at a time of high tension, following the Rwandan Revolution: centuries of rule by the minority Tutsi group had been overturned in just three years, the majority Hutu taking power in a violent upheaval, and forcing ...
Full Stanza, Other Details You Should Know About Old National Anthem
The lawmakers noted that the current national anthem was a product of the military junta, decreed by the military, and should, therefore, give way to the independence anthem, which captures national values, ethics, and norms. ... He is a graduate of OAU, and holds Diploma in Mass Comm. and BA in Literature in English. He has obtained ...
JSS students to compete in Heirs Insurance Group's N8m essay
All essays will be graded by distinguished judges, comprising educators, industry experts, and literary figures. The judging process will be thorough and transparent, ensuring that only the most deserving essays are selected. ... President Tinubu restores old national anthem with new legislation May 29, 2024 . Tinubu's first year performance ...
In Photos: Harvard's 373rd Commencement Exercises
Thousands of graduates, Harvard faculty, friends, and family crowded into Harvard Yard on Thursday for the University's 373rd Commencement Exercises. But the usual pomp and circumstance of the ...
National Anthem of Liechtenstein: Oben am jungen Rhein
(Turn on Youtube subtitles for English subtitles) "Oben am jungen Rhein" ("High on the young Rhine") is the national anthem of the Principality of Liechtens...
What role for revenge in Jewish life, literature and culture?
Its significance lay in the fact that the language, flag, symbols and anthem of the Jewish Brigade were Hebrew. Brigade people were active in the paramilitary units of the Haganah and Palmach. The anthem of the Jewish Brigade was written by the poet Yaakov Orland: Our blood is flowing like a river and fire Our covenant is calling - for vengeance!
Kimigayo
"Kimigayo" (君が代, Japanese pronunciation:; "His Imperial Majesty's Reign") is the national anthem of Japan.The lyrics are from a waka poem written by an unnamed author in the Heian period (794-1185), and the current melody was chosen in 1880, replacing an unpopular melody composed by John William Fenton in 1869. While the title "Kimigayo" is usually translated as "His Imperial Majesty's ...
Chelsea plan £60m move for Crystal Palace winger Michael Olise
Plus: Man Utd have decided to sack Erik ten Hag after the FA Cup final against Man City; City want Pep Guardiola to sign a new, long-term contract; Chelsea yet to rule out move for Roberto De ...
Manchester United on high alert after Mauricio Pochettino departs
Manchester United and Bayern Munich are on high alert after Mauricio Pochettino's departure from Chelsea. Gareth Southgate has revealed England are keeping tabs on Crystal Palace's Michael Olise ...
South Africa General Election 101
There are 52 parties on this election's national ballot, including new parties formed by previous ANC members such as former President Jacob Zuma's uMkhonto weSizwe Party (MK).