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Short Paragraph on Indian National Anthem (Jana Gana Mana)

Category: Blog , Essays and Paragraphs On December 19, 2017 By Various Contributors

The Indian national anthem, which is to be distinguished from the Indian National Song , is called Jana Gana Mana. The lyrics of this song were originally composed back in 1905 by the famous Indian poet Rabindra Nath Tagore .

In 1950, when India became independent, the poetic lyrics by Tagore were formally adopted as the national anthem of India. Tagore also wrote a musical setting for the words that he wrote. This music was written by him in 1911. In 1950, Tagore’s original music was also adopted as the setting for the lyrics of the national anthem.

Jana Gana Mana is still sung today as the national anthem of India, and it is used on official occasions. It is also played, for instance, on the winners’ podium during the Olympic Games if an athlete hailing from India is awarded a bronze, gold or silver medal for their sport.

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Jaya Hé! The Story of India’s National Anthem

Writers whose compositions become the national anthem of their country surely regard this as a supreme honour. But what if you are the author of the national anthems of two sovereign independent nations? Rabindranath Tagore, poet, musician, writer, artist and polymath who remodelled Bengali literature and music, was such a one. His song Amar Shonar Bangla [My Golden Bengal] is Bangladesh’s national anthem, and Jana Gana Mana (the focus of this essay) is India’s. But when Tagore, the first non-European to win the Nobel Prize for Literature passed on in 1941, he had no idea that two of his songs would become national anthems and part of his legacy.

A poem becomes a song

Tagore set his poem (virtually a hymn) that eventually became India’s national anthem to music, and it was first sung at the annual meeting of the Indian National Congress in Calcutta on Dec 27, 1911 in a chorus led by Sarala Debi Chaudhurani, Tagore’s niece, in the presence of the Congress President Bishan Narayan Dar, and other leaders such as Ambika Charan Mazumder and Bhupendra Nath Bose. The next month, the poem appeared in print under the title Bharat Bhagya Bidhata in ‘Tattvabodhini Patrika,’ the journal of the Brahmo Samaj. Today it is almost exclusively known by its opening phrase, Jana Gana Mana , and henceforth will be referred to by that name.

It took another eight years for the music of Jana Gana Mana to be standardized. In 1919, the Irish poet and Indophile James H. Cousins, vice-principal of Theosophical College in Madanapalle (a town in Chitoor district in the present-day state of Andhra Pradesh) invited his friend Tagore for a short stay. Every Wednesday, Cousins and his wife Margaret would hold an informal after-dinner assembly with the students and teachers. On February 28, 1919, Tagore joined the assembly and with some prodding by Cousins, sang Jana Gana Mana . It moved the audience. Tagore’s singing voice, Cousins said, was “surprisingly light” for so large a man. Cousins recollected: “The refrain to the first verse made us prick our ears. The refrain to the second verse made us clear our throats. We asked for it again and again, and before long we were singing it with gusto… Jaya hé! Jaya hé!”  The college adopted it as their prayer song.

Tagore must have been pleased. This was a college, and education was dear to his heart, though he loathed the formal system with its lectures, notes, tests, ranks and grades. His philosophy was: Good teachers don’t explain things. They instil curiosity in their pupils. He had founded the Visva-Bharati University on his ancestral Shantiniketan estate in Bengal on such principles, donating his entire Nobel Prize earnings to the university. So it was, well, poetic, that students and teachers were the first Indians to sing Jana Gana Mana with the Bard of Bengal himself leading them. Stirred by the reception, Tagore translated the song into English, calling it “The Morning Song of India.”

Margaret Cousins transcribed the melody onto paper in Western music notation. It was important to formalise the tune, she gently informed Rabi (as his family and close friends called Tagore), otherwise people would sing it any which way they wanted, and a distorted tune wouldn’t do this great song full justice. She asked Tagore to elucidate the meaning of each line and, using his tune as the base, rewrote the music to extract the best cadence. As she held a degree in music from the Royal University of Ireland in Dublin, she could follow Tagore’s desire for his preferred swara sargam (note sequence) composed in Raga Alhaiya Bilawal. Tagore left Madanapalle with the sheet music of Jana Gana Mana in his hands.

Margaret Cousins’ melody is more or less followed to this day, but her notation is slow and reflective, the way Tagore sang it. Today the anthem is played at a speedy tempo; the music is bouncy. The faster arrangement is the handiwork of Herbert Murrill, Professor of Composition at the Royal Academy of Music, London. Murrill, at the request of India’s first Prime Minister, Jawaharlal Nehru, changed the sedate hymnal into a martial march in the style of the French national anthem La Marseillaise ─ it can be performed in under a minute.

Audio & Visual: https://musescore.com/nakuljogdeo/scores/4437636

Sheet music of Jana Gana Mana arranged for solo piano by Nakul Jogdeo. The ‘play’ button at the top left of the page activates an audio recording. Using the “Playback Speed” icon (the bell shaped icon representing a metronome, with +and – buttons alongside) located above the score, you can make the music sedate like the Cousins version or swift like the Murrill version.

Jana Gana Mana (“ Cousins Version”) played by the Bundesjugendorcheste [National Youth Orchestra of Germany] in Chennai, 2018. Conductor: Hermann Bäumer

Jana Gana Mana (“Murrill Version”) played by The South Asian Symphony Orchestra, 2019. Conductor: Alvin Seville Arumugam

The roots of Jana Gana Mana

To better understand the foundations of Jana Gana Mana , we must foray into the past. In 1857, the British encountered the first large-scale rebellion against their colonial rule: a sustained uprising by the Indian soldiers in their army, now called the Sepoy Mutiny. Thereafter, the unnerved British suppressed anything that even remotely seemed a threat to their control. When Bengal became a stronghold for the nationalist movement, the Viceroy of India, Lord Curzon, split the province into two in 1905: East Bengal, with a predominant Muslim population, and West Bengal, predominantly Hindu. The official reason was that two smaller provinces could be administered more efficiently than one large province. But the unofficial sentiment was: Let the Hindus of the West and the Muslims of the East expend their energy knocking the stuffing out of each other, and they will have neither sweat nor stamina left to confront the British.

A direct offshoot of Bengal’s partition was the Swadeshi movement which derived its name (from the Sanskrit swa , own or self, and desh , country) because it boycotted British goods. Western clothing was hurled into communal bonfires, imported grain or sugar or anything from the West became taboo. The protestors gave up their Anglicized surnames – Banerjee, Chatterjee, Mukherjee – in favour of the Bengali originals, Bandhopadhyay, Chattopadhyay, Mukhopadhyay. The swadeshis derided Tagore for not changing his surname back to Thakur. There were protest marches, meetings, demonstrations and petitions to arouse public opinion. But those intensely loyal to the British Crown felt that the British Raj was the best thing that could have happened to India. Thus there were the nationalists and the loyalists. And then, there was Rabindranath Tagore.

Tagore was a rising star in Bengal at the time, but a controversial one. He was no loyalist; he opposed imperialism and espoused nationalism in his first politically charged poems in the collection Manast , written in his twenties. But he did not blindly support movements like the Swadeshi , taking exception to parts of their ideology. He satirized them in his articles and poems even as he wrote songs fervently championing the cause of Indian independence that they espoused.  This caused no end of bewilderment: whose side was Tagore really on?

In Chitto Jetha Bhayshunyo (“Where the Mind is Without Fear,” the 35 th poem in his collection, Gitanjali ), Tagore wrote: “where the world has not been broken up into fragments by narrow domestic walls.” Tagore didn’t coin that because it sounded cute. He believed in universality, in imbibing the best ─ whether it came from within the country or from outside its borders. This clashed with the outlook of the swadeshis : “true” Indians  necessarily had to embrace everything Indian and summarily reject anything from the West. Their attitude would be famously summed up by a 21 st century American president, George W. Bush, in November 2001: “You’re either with us, or you are against us.”

In 1909, Tagore published his prose masterpiece, the novel Gora . “Gora” loosely translates to “Fair Face” or, if you prefer slang, “Whitey.” ‘Gora’ is the diminutive of Gourmohan, the name of the novel’s protagonist, who is fair in complexion. The sprawling saga tackles a spectrum of issues: religion and fanaticism, society versus the individual, dynamics between the conqueror and the conquered, the role of women, orthodox religion (Hinduism) versus reformist religion (Brahmo Samaj) versus other faiths (Christianity, Islam), love and courtship across cultural obstacles, interplay between power and justice, the nature of patriotism, and the question of identity.

Within his narrative’s magisterial sprawl, Tagore raised issues such as these: Is “political freedom” synonymous with “freedom”? Besides the stone and mortar of the hated British jails, aren’t there other walls that imprison you? And did the British erect all of these confining “narrow, domestic walls”? Some of them? Any of them? If they didn’t, then who was responsible? These were uncomfortable and unsettling questions. But if such dissections disquieted the populace, they spooked the swadeshis . The swadeshis did not know what to make of the character Gora, who stoutly defended India’s traditions and customs against loyalists who collaborated with the Empire, but then whirled around and attacked those very customs when he confronted nationalists who followed them with a blind rigidity. The swadeshis were clueless about handling mavericks, and Gora’s author was a maverick with a capital M.

At the novel’s climax, Gora discovers that he is not the biological child of the Indian couple he regarded as his dear parents. He is the adopted child of Irish parents who died during the Sepoy Mutiny. His universe explodes in one heart-wrenching moment. His notions of patriotism, identity, culture, and personal beliefs, are turned on their head. Who is he? A spawn of the oppressor race who would never accept him as one of theirs? Tagore shows us Gora’s turmoil: “He had no mother, no father, no country, no nationality, no lineage, no God even… what could he hold on to?”

Then, the epiphany. When Gora discovers that he was never born a Hindu, he suddenly revels in a newfound freedom. All the preconditions that he has imposed on himself and on people around him evaporate into the stratosphere, and he feels that he belongs equally to everyone with no binding rules to obey. “Today, I have truly become an Indian. Within me, there is no longer any conflict of communities, whether Hindu, Muslim or Christian. Today, every caste of India is my caste, the food of all is my food!”  And: “Because I loved India better than life itself, I was quite unable to bear the least criticism of that part of it which I had got to know. Now that I have been delivered from those fruitless attempts…. I feel that I am alive again.”

An emperor’s double coronation

Even as Gora was being read and hotly debated in the parlours of Calcutta and along the country lanes of Bengal, faraway on another continent, other events were unfolding. Beneath the sunless sky of London, George V had succeeded his father Edward VII to the throne, and, like other British kings, was formally crowned in Westminster Abbey in the summer of 1911. He then surprised everybody by demanding a second coronation. He wasn’t merely the king of a dinky little island in the North Sea, was he? No Siree, he was ruler and overlord of the mightiest empire the planet had known. The jewel in that empire’s crown was India, and he would have a separate coronation there with all the pomp, splendour and spectacle that only India could provide: sitars and tablas, camels and elephants and peacocks, silk and sunshine, and the night lit by more oil lamps than there were stars in the sky. The world would see, the world would know, and the world would prostrate in homage.

As the British armada entered the Arabian Sea, its flagship HMS Medina bearing the maharajadhiraja (King-Emperor) signalled that it would dock in Bombay harbour on December 2, 1911. All of India was fired up. But although Calcutta was the capital of British India, the coronation occurred in Delhi, the seat of many ancient Indian empires. What’s more, the King-Emperor proclaimed that Delhi, not Calcutta, would now be India’s capital. Calcutta had heartburn – but the King-Emperor also issued a royal decree annulling the 1905 partition of Bengal by Viceroy Curzon. As it turned out, the reunification of Bengal would not last long, but people didn’t know it at the time. Calcutta perked up; to a degree, this welcome development offset its loss of status.

Jana Gana Mana – profane or profound?

It was against this tense and volatile backdrop that Jana Gana Mana was sung on December 27, 1911, the second day of the Indian National Congress convention in Calcutta. The Congress party was largely loyal to the Crown. Gandhi was still in South Africa — it would be four more years before he returned to India permanently, and a few more before he changed the Congress’s thinking and launched the independence movement. The Congress enthusiastically dedicated the second day of their convention to honour the King-Emperor who had benevolently reunified their partitioned golden Bengal. Later that day, a song in Hindi, Badshah Hamara (‘Our Emperor’) was sung. Its lyrics were penned by Rambhuj Dutt Chaudhury, the husband of Sarala Debi Chaudhurani, Tagore’s niece, who had earlier sung her uncle’s Jana Gana Mana . All in the family, huh? — some journalists rapidly added two and two to make four and three quarters. Asim K. Duttaroy, a professor at the University of Oslo, Norway, researched what the newspapers had said. Here is the British-Indian press:

“The Bengali poet Rabindranath Tagore sang a song composed by him specially to welcome the Emperor.” ( The Statesman , Dec 28, 1911)

“The proceedings began with the singing by Rabindranath Tagore of a song specially composed by him in honour of the Emperor.” ( Englishman , Dec 28, 1911)

“When the proceedings of the Indian National Congress began on Wednesday 27th December 1911, a Bengali song in welcome of the Emperor was sung. A resolution welcoming the Emperor and Empress was also adopted unanimously.” ( Indian , Dec 29, 1911)

Not only did they misinterpret the poem, they misreported the facts: it was Tagore’s niece and not Tagore who had sung Jana Gana Mana . The Indian press had a somewhat different take:

“The proceedings of the Congress party session started with a prayer in Bengali to praise God (Song of Benediction). This was followed by a resolution expressing loyalty to King George V. Then another song was sung welcoming King George V.” ( Amrita Baazar Patrika , Dec 28, 1911)

“The annual session of Congress began by singing a song composed by the great Bengali poet Ravindranath Tagore. Then a resolution expressing loyalty to King George V was passed. A song paying a heartfelt homage to King George V was then sung by a group of boys and girls.” ( The Bengalee , Dec 28, 1911)

And the 1911 annual report of the Indian National Congress makes a clear demarcation:

“On the second day (of the annual meeting) the work began after singing a patriotic song by Babu Ravindranath Tagore. Messages from well wishers were then read and a resolution was passed expressing loyalty to King George V. Afterwards the song composed for welcoming King George V and Queen Mary was sung.”

Tagore himself maintained a dignified silence following the attacks in the press. His patriotism was patent. Why strengthen his detractors by fuelling their baseless charges with his responses? Only a blithering idiot would mistake Jana Gana Mana for God Save the King . But he greatly underestimated how many such idiots were milling around. On hindsight, perhaps he should have spoken up, for some of the mud flung at him has stuck, even after a hundred years. The controversy must have rankled, because Tagore brought the matter up through two letters written in the last years of his life.

Part of the problem may have been that a friend who worked for the government tried to cajole Tagore into writing a paean to the King-Emperor, and that piece of news could have circulated. On November 10, 1937 Tagore wrote a letter to Pulin Bihari Sen, the head of Visva-Bharati University’s publication division. The text of that letter (in Bengali) can be found in Tagore’s 1946 biography, Ravindrajivani by Prabhat Kumar Mukherjee:

“A certain high official in His Majesty’s service, who was also my friend, had requested that I write a song of felicitation towards the Emperor. The request simply amazed me. It caused a great stir in my heart. In response to that great mental turmoil, I pronounced the victory in Jana Gana Mana of that Bhagya Vidhata [Dispenser of Destiny] of India who has from age after age held steadfast the reins of India’s chariot through rise and fall, through the straight path and the curved. That Lord of Destiny, that Reader of the Collective Mind of India, that Perennial Guide, could never be George V, George VI, or any other George. Even my official friend understood this about the song. After all, even if his admiration for the Crown was excessive, he was not lacking in simple common sense.”

And in a letter dated March 19, 1939, quoted in the literary journal Purvasha , Tagore stated his position in unequivocal terms:

“I should only insult myself if I cared to answer those who consider me capable of such unbounded stupidity as to sing in praise of George the Fourth or George the Fifth as the Eternal Charioteer leading the pilgrims on their journey through countless ages of the timeless history of mankind.”

If you want to ingratiate yourself with somebody, it helps if your target understands your flattery. George V could not distinguish Bengali from Tamil, Marathi, or gobbledegook. If Tagore wished to grovel before the King-Emperor, wouldn’t he have composed his paean in English, of which language he was a consummate master?

Tagore’s full composition of Jana Gana Mana (all five verses in Bengali) sung by Swagatalakshmi Dasgupta.

Jana Gana Mana – a literary masterpiece

A century later, there are still Indians who charge that their fellow countrymen and countrywomen continue to blindly sing a song extolling colonialism, and that Tagore’s patriotism is suspect. They point to lines such as these to support their position.

In the first verse:

…adhināyaka jaya hé, Bhārata bhāgya vidhātā.

Victory to the Ruler, Dispenser of India’s destiny.

In the second verse:

…suni tava udār vāni, Hindu, Bauddh, Shikha, Jain, Parasik, Musalmān, Khristāni; Purab Paschim āsé, tava simhāsana pāsé.

In response to thy gracious call The Hindus, Buddhists, Sikhs, Jains, Parsis, Muslims, and Christians, From the East and from the West, they gather together before Thy throne.

In the last verse, at the crescendo:

Jaya jaya jaya hé, jaya Rājeshwara, Bhārata bhāgya vidhātā

Victory, Victory, Victory to thee, O Supreme Ruler-Lord, Dispenser of India’s destiny.

What is overlooked is that Tagore employs the imagery of an earthly king and the power he wields to denote a higher power or the power innate within one’s higher self. (Tagore used the same metaphor in many of his poems. Poems 50 and 51 in Gitanjali are good examples.)

There is also selective picking. Critics ignore lines that don’t fit into the ‘Hail to the King-Emperor’ theory. Take for instance, these lines from the third verse:

Patana abhyudaya vandhura pantha, yuga yuga dhābit yātri Hey chira sārathi, tava ratha-chakrey mukharit patha din rātri Dārun viplab mājhey, tava shankha dhwani bājey

The Legend of Mian Tansen

Down the ages we, the pilgrims, have trod the rugged road of life with its ups and downs, O Eternal Charioteer! The sound of your chariot wheels echo night and day And the boom of your conch shell reverberates in the midst of our revolution.

This was the passage Tagore referred to in his 1939 letter. Pilgrims aren’t interested in earthly kings; their quest is spiritual. And while it is conceivable the British emperor could be poetically compared with a ‘charioteer,’ he (or any other mortal monarch) could scarcely be considered ‘eternal.’

But those lines conjure the image of the Hindu deity Krishna who served as Prince Arjuna’s charioteer in the internecine civil war in the epic, The Mahabharata. Krishna is not named; Tagore the poet leaves the interpretation of the charioteer symbol to his readers, some of who interpret it as “perennial guiding spirit.” Just as striking is the image of the sounding of the conch shell ( shanka dhwani ). The conch is blown like a trumpet in certain religious ceremonies such as the consecration of a new temple, but in ancient India it was blown during a war, especially to herald the start of a war – a detail Indians are familiar with from the recounting of many stories. For example, the Mahabharata War began after Krishna blew his conch.

So what is the war that Tagore alludes to, even using the word viplab , revolution? The obvious answer: the war against British imperialism. The phrase Nidrito Bhārat Jāgey (Awaken, slumbering India), so neatly tucked into in the last verse, was a coded phrase, a favourite of activists demanding the end of British rule. Far from licking George V’s boots, Tagore’s ultimatum was the exact opposite: boot him out! It was a daring message, cleverly cloaked in two potent weapons in a poet’s armoury: metaphor and double-entendre.

Our understanding of Jana Gana Mana is considerably deepened if we have read Tagore’s work that preceded it: his novel, Gora . Gora finds his identity only after first losing what he had believed to constitute his identity. That is Tagore’s challenge to his fellow Indians. Liberation from foreign rule was a battle, but the larger war wouldn’t and couldn’t be won until those other walls that imprisoned society were also battered down.

Do you speak in Assamese or Malayalam? Do you prefer chapatti or rice? Do you drape the end piece of your sari over your right shoulder or your left?  Do you perform namaz , wave the lamp for ārati , cross yourself as you accept the wine and wafer, or subscribe to no religion? Do you ride the train, drive a car or scooter, use a bullock cart or walk? Do you wear trousers or a lungi , or both, or neither? Do you make a beeline for tandoori chicken or shorshe ilish , or are you as vegetarian as you can possibly be? Do you take your tea with aromatic spices like cardamom or take it plain, or perhaps you only care for hot ‘filter’ coffee? Do you don a turban, a skull cap, or go about bare-headed as well as bare-footed? Who do you prefer to hang out with in your free time? Such things define who you are within a diverse and multifaceted India.

But if you transcend such markers (not jettison them, but transcend them), then on that lofty plane you will come face to face with the primal ruler ( adhināyaka) who dispenses India’s destiny ( Bhārata bhāgya vidhātā) . Rest assured that this entity is neither George V nor his ghost.

In keeping with his expansive worldview, Tagore interpreted the Vedic dharma (duty, virtue, righteous living) as having many components ─ for dharma is applicable to all humans and the human race is kaleidoscopic. For example, there is family dharma : one’s duty and responsibility as husband or wife, parent or child, brother or sister, and so on. Then there are obligations to the community that one lives in. But besides these kinds of dharma , there was a higher dharma , Sādhārana Dharma (“Universal Dharma”) which transcended one’s individual situation, caste and other identities, group affiliations, and other boundaries; it was applicable to all. The Hindu scripture Mahopanishad summarizes this form of dharma through the Sanskrit phrase Vasudhaiva Kutumbakam or “The world is my family” ( vasudha = the earth [and its inhabitants], eva = is indeed, kutumbakam = my family; Mahopanishad VI: 70-73). It was this form of dharma that Tagore invoked in his all-encompassing Jana Gana Mana .

From poem to song to national anthem

On August 15, 1947, India became independent from British rule and opted to become a republic, with a constitutional president elected by its Parliament to replace the British monarch as Head of State. It took about two and a half years for the constitution of the new nation to be drafted and then formalized by the Constituent Assembly. It came into force on January 26, 1950 (which date is now commemorated as India’s Republic Day).

The new republic needed a national anthem, and there were three contenders: Tagore’s Jana Gana Mana, Bankim Chandra Chattopadhyay’s Vandé Mātaram , and Muhammad Iqbal’s Tarana-é-Hind (popular title: Sāré Jahan Sé Acchā). The Constituent Assembly narrowed its choice to the first two.

Vandé Mātaram (Mother, I Salute Thee) was originally a poem in Chattopadhyay’s 1882 novel Ananda Math ( The Monastery of Bliss). This poem was set to music by none other than Rabindranath Tagore, who first sang it at the 1896 annual convention of the Indian National Congress. “Vandé Mātaram!” became a rallying cry of the independence movement, defying the British who banned its public utterance. So there were strong sentiments backing this song to become the national anthem.

At independence, India was carved into two nations. Pakistan was birthed as an Islamic nation but India opted to be a secular republic that conferred equality on citizens of all religions, recognizing that diversity conferred strength. Many preferred India to have Hinduism as its state religion the way Pakistan embraced Islam. The ideological divide persists to this day and will continue into the foreseeable future. In the Constituent Assembly, those who wanted a Hindu state backed Vandé Mātaram.

The first two stanzas of Vandé Mātaram equate “Mother” with “Motherland.” But a later stanza specifies the term “Mother” with the Hindu goddess Durga. The Constituent Assembly felt this would not fit a secular India with numerous religious minorities who would be expected to sing and respect the anthem. The Assembly decided that while Vandé Mātaram (and Ananda Math ) had an undeniably permanent niche in Indian literature and the independence movement, and while the lyrics of Vandé Mātaram fitted the context of the novel and the setting of Bengal where Durga is a beloved deity, Jana Gana Mana was more appropriate as the anthem for a diverse republic. On January 24, 1950 the Assembly adopted the first verse of Jana Gana Mana as the national anthem and the first two verses of Vandé Mātaram as the national song, according them equal status.

But those rooting for Vandé Mātaram weren’t buying it; the national song clearly played second fiddle to the national anthem. And over the years, the push to replace Jana Gana Mana keeps cropping up. Now, people of an ideological persuasion will press their agenda; this is true not just for India but for all countries. But in the process, they keep rubbishing Tagore, casting slurs on his patriotism, accusing him of treachery. I am not implying that Tagore is above criticism (he isn’t) or that his life was flawless (it wasn’t) but in this particular case, the continued character assassination is repugnant. In 2011, a private school in Uttar Pradesh even re-wrote the anthem believing it to refer to the British monarch and made their students memorize and sing the altered version.

A fresh controversy erupted in 2005 when a petition was filed in India’s Supreme Court to delete “Sindh” from the anthem as that province now belonged to Pakistan. Sindh should be replaced by Kashmir, the petitioners argued. The underlying motive was patent – both India and Pakistan were in dispute over Kashmir, and its inclusion in India’s national anthem would signal where Kashmir belonged. One of the counter-arguments to the petition was that Jana Gana Mana wasn’t about geography; it was about people, right from the opening words ( Jana Gana Mana , the minds of the people). Sindh might now be in Pakistan, but there were thousands of ethnic Sindhis who lived in India and were Indian to the core. The Supreme Court agreed, and Tagore’s composition stands.

Listen to the anthem

This video was created for the 50 th anniversary of the Republic of India.

The first part consists of an orchestral rendition of Jana Gana Mana by some of India’s finest musicians: Hariprasad Chaurasia, Amjad Ali Khan, Shiv Kumar Sharma, Vishwa Mohan Bhatt, E. Gayathri, Ravikiran, Kadri Gopalnath, Kartick Kumar, Niladri Kumar, Amaan Ali Bangash, Ayaan Ali Bangash, Uma Shankar, the Kumaresh & Ganesh duo, and several others. The orchestra, led by K. Srinivas Murthy, consists of a number of instruments: sitar, sarod, flute, ghatam (yes, earthen pots), santoor, violin, veena, mohan veena, chitra veena, sarangi. The conductor is A. R. Rahman. The pure notes of Tagore’s melody come through Rahman’s arrangement, which is closer to the Tagore/Cousins original than it is to Murrill’s martial march.

In the second part, the anthem is sung by some of India’s finest vocalists, solo and in chorus, from resonant bass to vibrant soprano, including Lata Mangeshkar, D.K. Pattammal, Bhimsen Joshi, Jagjit Singh, Balamuralikrishna, Jasraj, S.P. Balasubramaniam, Asha Bhosle, Bhupen Hazarika, Kavita Krishnamurthi, Saddique Khan Langa, Parveen Sultana, and many more.

Jana Gana Mana (the National Anthem of India)

Jana-ga n a-mana adhināyaka jaya he Bhārata bhāgya vidhātā Pañjāba Sindh Gujarā ṭ a Marā ṭ hā Drāvi ḍ a Utkala Ba ṅ ga Vindhya Himāchala Yamunā Ga ṅ gā Ucchala jaladhi tara ṅ ga Tava śubha nāme jāge Tava śubha āśi ṣ a māge Gāhe tava jaya gāthā Jana ga ṇ a ma ṅ gala dāyaka jaya he Bhārata bhāgya vidhāta Jaya he, jaya he, jaya he Jaya jaya jaya, jaya he

Thou art the ruler of the minds of the multitudes, Thou, Dispenser of India’s destiny. Thy very name arouses the hearts of Punjab, Sindh, Gujarat and Maratha Of the Dravida regions, and of Orissa and Bengal; It echoes in the hills of the Vindhyas and the Himalayas, Mingles in the music of Yamuna and Ganga, and is Chanted by the waves of the Indian Ocean. They pray for thy blessings even as they sing Thy praise For in Thy hand lies the saving of the people, Thou, dispenser of India’s destiny. Victory, victory, victory to Thee.

For those who would like more:

• The Voice of Rabindranath Tagore: Audio recording of Tagore reciting the first verse of Jana Gana Mana http://www.youtube.com/watch?v=0XaWGZRHMRQ .
• Ensemble performance of Jana Gana Mana ( https://youtu.be/6xwWRPXfJk0 )

0:01 Pandit Hariprasad Chaurasia (Flute) 0:05 Pandit Shiv Kumar Sharma (Santoor) 0:08 Pandit A. Ananthapadmanabhan (Veena) 0:15 Dr. N. Rajam (Violin) 0:18 Ustad Amjad Ali Khan (Sarod) 0:23 Pandit Vikku Vinayakram (Ghatam) 0:27 Ustad Shahid Parvez Khan (Sitar) 0:31 Pandit Vishwa Mohan Bhatt (Mohan Veena) 0:35 Ustad Zakir Hussain (Tabla) 0:42 Pandit Rakesh Chaurasia (Flute) 0:44 Ustad Dilshad Khan (Sarangi) 0:46 Dr. Sangeeta Shankar (Violin)

• Two group instrumental renditions of the anthem, the first on guitars and flute ( http://www.youtube.com/watch?v=G6Hxk5gfpVU ), the second played by a strings quintet: two violins, and a viola, cello, and bass. ( https://www.youtube.com/watch?v=BMtJdQQ2yNo )
• Solo rendition of Jana Gana Mana on the harp ( https://youtu.be/7o8pVMaJCio )
• Solo rendition of Jana Gana Mana on the saxophone ( https://youtu.be/G0941H-0fwU )
• Solo rendition of Jana Gana Mana on the sitar ( https://youtu.be/f0gQfsYYbo8 )
• Solo rendition of Jana Gana Mana on the shehnai ( https://youtu.be/7PFcnv_waeo )
• Jana Gana Mana played on a set of tablas ( https://youtu.be/X0S9WV9NvIE )
• Solo rendition of Jana Gana Mana on the jalatarang ( https://youtu.be/CQQ6Qp-07TA )
• Across international borders: The Canadian High Commission in India invited Canadian singer and Indophile, Natalie Di Luccio, to sing Jana Gana Mana at their Canada Day celebration, echoing the universality dear to Tagore. http://www.youtube.com/watch?v=uF_TYGpu2L4

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5 Things Students Should Know About Indian National Flag, Anthem

India is celebrating its 75th Independence Day on August 15, 2021. Here are some facts about the Indian national anthem and the national flag that students can use in their independence day speech, essay, or quiz.

Facts about the National Flag and Anthem students can use in Independence Day essay, quiz

The Indian national flag, as we know it today, came into existence after a series of developments and modifications. Also known as the Tricolor or Tiranga , the flag was an integral part of the Indian freedom movement. Jana Gana Mana , the national anthem of India, was also an important ally of the freedom fighters. Composed by Ravindranath Tagore, Jana Gana Mana represents the unity of a diverse India.

5 Things You Should Know About The National Anthem, Flag Of India

The National Flag of India, as we know it today, is a horizontal, rectangular tricolor of saffron, white and green with the Ashoka Chakra in the middle. However, the earliest version of Indian National Flag hoisted on August 7, 1906, had stripes of green, yellow, and red. The first version also had religious symbols, eight roses, and Vande Mataram inscribed on it.

Madam Bhikaji Cama hoisted the second version of the flag at the Socialist International Summit in Stuttgart, Germany. The third version had red and green stripes with the Union Jack – the national flag of the United Kingdom – on the top left and a crescent on the top right and seven stars in the form of the Saptrishi constellation. It was used by Bal Gangadhar Tilak in 1917.

Two more versions of the flag were designed in 1921. The first had a white stripe at the top, a green stripe in the middle, and a red stripe at the bottom. White represented religious minorities, green represented Muslims, and red represented Hindus. There was also a spinning wheel in the center. This flag was according to the vision of Mahatma Gandhi. Another version of the flag, which was adopted by the Congress committee, had saffron at the top, white in the middle, and green at the bottom, with a spinning wheel in the middle of the white stripe.

Rabindranath Tagore originally composed Jana Gana Mana , India's national anthem, in Bengali as Bharoto Bhagyo Bidhata . On December 27, 1911, it was first publicly sung at the Calcutta session of the Indian National Congress. Apart from the national anthem of India, Rabindranath Tagore also wrote the national anthem of Bangladesh – Amar Sonar Bangla .

Jana Gana Mana was first termed as the “National Anthem” by Netaji Subhas Chandra Bose, during the meeting of the German-Indian Society on September 11, 1942. Jana Gana Mana was used in the 1945 film "Hamrahi", Before it officially became the national anthem of India in 1950.

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India National Anthem: Jana-Gana-Mana (Thou Art the Ruler of All Minds) Listen to the National Anthem

Original Hindi Words: Latin Transliteration

Jana-gana-mana-adhinayaka, jaya he Bharata-bhagya-vidhata Panjaba-Sindha-Gujrata-Maharata- Dravida-Utkala-Vanga Vindhya-Himachala-Yamuna-Ganga Uchhala-Jaladhi-taranga Tava shubha name jage

Tava shubha ashisha mage Gave tava jaya-gatha Jana-gana-mangala-dayaka jaya he Bharata-bhagya-vidhata. Jaya he! Jaya he! Jaya he! Jaya jaya jaya, jaya he!

English Translation

Thou art the ruler of the minds of all people, Thou Dispenser of India's destiny. Thy name rouses the hearts of Punjab, Sind, Gujrat and Maratha, Of Dravid, Orissa and Bengal.

It echoes in the hills of the Vindhyas and Himalayas, Mingles in the music of Jamna 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.

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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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The Impact Of Rabindranath Tagore’s Literature On India And Beyond

Step into the enchanting world of Rabindranath Tagore, a literary genius whose impact on India and beyond is immeasurable. Through his thought-provoking literature, Tagore has revolutionized the way we perceive art, nationalism, and spirituality. His works, deeply rooted in the cultural fabric of India, have transcended borders and touched the hearts of people across the globe. Join us as we embark on a journey to explore the profound influence of Tagore’s literature, unlocking a deeper understanding of India’s rich literary heritage and the universal messages conveyed through his words.

Table of Contents

The Early Life of Rabindranath Tagore

Rabindranath Tagore, fondly known as Gurudev, was born on May 7, 1861, in Calcutta, British India. He hailed from a prominent Bengali family, which played a significant role in shaping his artistic journey. Tagore’s father, Debendranath Tagore, was a revered philosopher, social reformer, and founder of the Brahmo Samaj, a socio-religious reform movement. His mother, Sarada Devi, was a devout and cultured woman who provided a nurturing environment for Tagore’s literary pursuits.

Tagore’s education began at home, where he received personal tutoring in various subjects, including history, literature, mathematics, and Sanskrit. Known for his insatiable curiosity, he devoured a wide range of literature from an early age, immersing himself in the works of both Indian and Western writers. Later, he attended several schools in Calcutta, where he cultivated his passion for learning. Despite his disdain for formal education, Tagore pursued higher studies at University College London for a brief period before returning to India.

Early Writings

Tagore’s early writings exhibited his prodigious talent and marked the beginning of his literary career. At the age of sixteen, he published his first collection of poems, “Kabi Kahini” (Tales of a Poet). These poems showcased his remarkable ability to weave vivid imagery and deep emotion into his verses. Tagore continued to explore various literary forms, including short stories and essays, and his works garnered critical acclaim.

The Artistic Journey of Rabindranath Tagore

Tagore’s artistic journey encompassed a diverse range of creative expressions, from music and poetry to plays and novels, and even visual arts. His multidisciplinary approach allowed him to push the boundaries of art and leave an indelible mark on the cultural landscape.

Music and Poetry

Tagore’s musical genius is perhaps best encapsulated in his creation of Rabindra Sangeet, a genre combining his evocative poetry with melodic compositions. These songs, deeply rooted in Bengali culture, captured the essence of various human emotions and celebrated the beauty of nature. Tagore’s melodic melodies and soul-stirring lyrics resonated not only in India but also across the world, establishing him as a musical luminary.

Plays and Novels

Tagore’s foray into theater and novel writing marked yet another milestone in his artistic journey. His plays, such as “Chitra,” “The Post Office,” and “The King of the Dark Chamber,” explored complex themes and showcased his mastery of storytelling. Similarly, his novels, including “Gora,” “Ghare-Baire,” and “Shesher Kobita,” delved into social issues, love, and self-discovery, captivating readers with their profound insights and lyrical prose.

Visual Arts

In addition to his literary and musical prowess, Tagore also dabbled in the visual arts. He became proficient in painting and created a vast collection of artworks that reflected his deep connection with nature and his innermost thoughts. Tagore’s paintings were characterized by their simplicity, elegance, and poetic sensibility, showcasing his unique perspective on the world. His artistry extended beyond the canvas, as he also designed the emblem for Visva-Bharati University, further illustrating his artistic prowess.

Tagore and Bengali Renaissance

Tagore’s indomitable spirit and relentless dedication to his craft played a vital role in the Bengali Renaissance, a period of cultural rejuvenation and intellectual awakening in Bengal.

Promoting Bengal’s Cultural Renaissance

Tagore championed the cause of Bengal’s cultural revival and actively engaged in promoting indigenous art forms, literature, and education. He believed in the power of cultural regeneration and sought to establish a renaissance that would revive Bengal’s glorious past while embracing modernity.

Revitalizing Bengali Literature

Tagore’s contributions to Bengali literature were instrumental in revitalizing the language and elevating it to new heights. His poetry, prose, and plays infused new life into Bengali, allowing it to emerge as a potent medium of artistic expression. Tagore’s works introduced novel ideas, challenged societal norms, and inspired a generation of writers who carried forth his legacy of literary excellence.

Influence on Bengali Society

Tagore’s ideas and ideals permeated every facet of Bengali society, leaving an indelible imprint on its cultural, social, and political fabric. His emphasis on education, social reform, and national identity appealed to people from all walks of life. Through his writings and activism, Tagore empowered individuals to question prevailing societal norms and strive for a more egalitarian and inclusive society.

Nationalism and Independence Movement

Tagore’s nationalist views and his active involvement in the Indian independence movement played a pivotal role in shaping the nation’s destiny.

Tagore’s Nationalist Views

Tagore’s nationalist ideology was shaped by his deep love for his country and his belief in its inherent cultural richness. He advocated for a balanced and harmonious form of nationalism that celebrated India’s diversity and encouraged dialogue among different communities. His iconic poem “Jana Gana Mana,” which later became the national anthem of India, resonated with the aspirations of the masses and ignited a sense of pride in their motherland.

Impact on Indian Independence Movement

Tagore’s participation in the Indian independence movement extended beyond his poetic expressions of nationalism. He actively supported the Swadeshi movement, which aimed to promote indigenous industries and boycott British products. Tagore’s encouragement and rallying of the masses through his speeches and writings invigorated the movement and became a catalyst for change.

Role in Shaping Indian National Identity

Tagore’s profound contributions to India’s national identity were rooted in his vision of a united and inclusive nation. He believed in the power of education to bridge societal divides and foster a sense of unity among Indians. Tagore’s establishment of Visva-Bharati University, an institution that celebrated Indian culture while embracing global knowledge, served as a beacon of enlightenment and a testament to his vision of a resurgent India.

Education and Social Reform

Tagore’s vision for education and his commitment to social reform serve as a testament to his progressive worldview.

Vision for Education

Tagore envisioned education as a transformative force that could empower individuals and shape society. His educational philosophy emphasized holistic development, nurturing creativity, and fostering a deep connection with nature. He advocated for a decentralized and child-centric approach to education, challenging the traditional rote memorization methods prevalent at the time.

Bolstering Women’s Education

Tagore’s commitment to gender equality extended to his efforts in bolstering women’s education. He recognized the importance of empowering women through education and tirelessly worked to ensure equal access to learning opportunities for women. Tagore’s emphasis on women’s education paved the way for social transformation, enabling women to break free from the shackles of societal norms and contribute to the nation’s progress.

Social Reform Initiatives

Tagore’s commitment to social reform went beyond the realms of education. He ardently championed causes such as widow remarriage, caste system abolition, and the upliftment of marginalized communities. Tagore’s progressive stance on these issues challenged the status quo and catalyzed a broader movement for social justice and equity.

Tagore’s International Influence

Tagore’s immense talent and his ability to transcend cultural boundaries earned him international acclaim and positioned him as a global cultural icon.

Nobel Prize for Literature

In 1913, Tagore became the first non-European Nobel laureate in Literature, a testament to the universal appeal and profound impact of his writings. The Nobel Prize elevated Tagore’s status on the global stage, garnering recognition for his literary brilliance and presenting an opportunity to disseminate his works worldwide.

Interactions with Western Intellectuals

Tagore’s international influence was further amplified through his interactions with Western intellectuals and artists. His visits to Europe and the United States facilitated exchanges of ideas and fostered a cross-cultural dialogue that enriched both Eastern and Western thought. Tagore’s friendships with luminaries such as Albert Einstein, Romain Rolland, and William Butler Yeats showcased the universality of his works and their enduring appeal.

Translation and Global Reach

Tagore’s works have been extensively translated into numerous languages, allowing his poetry, plays, and novels to reach audiences across the globe. The lyrical beauty and profound insights embedded in Tagore’s writings resonate with readers transcending cultural and linguistic boundaries. His profound impact on literature and the arts extends far beyond the confines of India, firmly establishing him as a global luminary.

Impact on Literature and Arts

Tagore’s artistic genius revolutionized not only Bengali literature but also played a pivotal role in shaping modern Indian literature and inspiring Western authors.

Influence on Bengali Literature

Tagore’s contributions to Bengali literature cannot be overstated. His lyrical poetry, eloquent prose, and captivating plays revitalized the Bengali language, infusing it with renewed vigor and setting new standards for literary excellence. Tagore’s experimentation with various literary forms and innovative use of language continue to influence contemporary Bengali writers, who draw inspiration from his rich literary heritage.

Modern Indian Literature

Tagore’s impact on modern Indian literature is immeasurable. His writings resonated with a nation in flux, grappling with its identity and aspiring for cultural and political emancipation. Tagore’s works served as a catalyst for a literary renaissance in India, inspiring subsequent generations of writers to explore themes of national identity, social reform, and individualism.

Inspiring Western Authors

Tagore’s writings and ideas have not only captivated Indian audiences but have also left an indelible impact on Western authors. His universal themes, nuanced characterizations, and lyrical prose have inspired renowned writers such as W.B. Yeats, Ezra Pound, and Robert Frost, who recognized the immense literary prowess of Tagore and sought to imbibe elements of his style and worldview into their own works.

Tagore’s Influence in Music and Performing Arts

Tagore’s contributions to music and the performing arts have had a lasting impact, both within India and beyond its borders.

Rabindra Sangeet and Musical Legacy

Rabindra Sangeet, Tagore’s unique musical style, has become an integral part of Indian culture. His soulful compositions, which seamlessly blend poetry with melodious tunes, continue to be performed and celebrated in India and among Indian diaspora communities worldwide. The emotional depth and universality of his songs transcend language barriers, touching the hearts of people from different cultures.

Theatrical Adaptations

Tagore’s plays have been adapted and performed in various languages and countries, allowing audiences worldwide to experience the timeless brilliance of his storytelling. Whether it is the profound introspection of “The Post Office” or the exploration of complex human emotions in “Chitra,” Tagore’s theatrical works continue to captivate and engage audiences, reinforcing his status as a pioneer of modern Indian theater.

Film and Television

Tagore’s influence extends to the realm of film and television, with his works being adapted into numerous cinematic and televised productions. Directors and actors have brought Tagore’s stories to life on the silver screen, allowing audiences to experience the visual splendor and potent narratives of his works. These adaptations have introduced Tagore’s legacy to a new generation, ensuring the continued relevance of his artistic contributions.

Tagore’s Legacy in Philosophy and Culture

Tagore’s profound philosophical thought and his relentless efforts to expand cultural boundaries have left an enduring legacy.

Tagore’s Philosophical Thought

Tagore’s philosophical thought encompassed a wide array of themes, including spirituality, humanism, and the relationship between nature and humanity. His writings explored the intricacies of the human condition, questioning societal norms and challenging conventional wisdom. Tagore’s philosophy, rooted in a deep reverence for nature and a belief in the inherent goodness of humanity, continues to resonate with individuals seeking meaning and purpose in their lives.

Expanding Cultural Boundaries

Tagore’s relentless efforts to expand cultural boundaries were a testament to his belief in the power of art to bridge divides and foster global understanding. He sought to promote cultural exchange and mutual respect through his travels, interactions with intellectuals, and establishment of institutions like Visva-Bharati University. Tagore’s unwavering commitment to promoting cultural harmony laid the foundation for a worldview that celebrates diversity and transcends nationalistic boundaries.

Tagore’s Universal Message

At the core of Tagore’s work lies a timeless and universal message. His writings and artistic expressions beautifully capture the essence of human emotions, the joys and sorrows of life, and the interconnectedness of all beings. Tagore’s universal message preaches love, compassion, and empathy, reminding us of the common threads that bind humanity together, irrespective of geographic, cultural, or linguistic differences.

Tagore’s Relevance in Contemporary India and Beyond

Tagore’s legacy continues to resonate in contemporary India and holds relevance in a global context.

Influence on Indian Education System

Tagore’s progressive educational philosophy continues to shape India’s education system. His emphasis on holistic development, creative expression, and individuality has found resonance in modern pedagogical approaches. Tagore’s vision of education as a liberating force that cultivates critical thinking and fosters a deep connection with nature remains an inspiration for educational institutions today.

Tagore’s Relevance in a Global Context

Tagore’s visionary ideas and emphasis on cultural exchange and understanding remain highly relevant in a world grappling with complex global challenges. His message of unity, respect for diversity, and the need to transcend cultural and national boundaries is particularly significant in a world that is becoming increasingly interconnected.

Continued Relevance Today

The relevance of Tagore’s work transcends time and continues to inspire individuals across generations. His poetry, music, and ideas fuel the creative spirit and evoke a sense of introspection and wonder. Tagore’s profound impact on literature, music, and social reform ensures that his legacy lives on, serving as a beacon of inspiration for countless individuals seeking meaning, beauty, and a deeper understanding of the world.

Indian Culture Team

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.

Let’s take a look…

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.

Also check:

• 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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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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Essay on National Flag: Sample Essays for Students in 100, 200, and 300 words

• Updated on  
• Jan 3, 2024

The National flag of India is a symbol that represents India’s freedom as well as its integrity. It represents that India is governed by the people of the country without any foreign interference. The display of the Indian flag is our pride and it is a warning to the invaders. Our Nation flag is based on the Swaraj Flag which was designed by Pingali Venakyya. The tricolour display is governed by the Flag code of India and any act of dishonour to the flag is a punishable offence. This is just a brief paragraph on the national flag. Below we have provided samples of essay on National Flag. let’s have a look at them. 

Table of Contents

• 1 Essay on National Flag in 100 words
• 2 Essay on National Flag in 250 words
• 3 Essay on National Flag in 300 words

Also Read:- Essay on Pollution

Essay on National Flag in 100 words

Our National flag is the pride of our nation. It symbolises the unity of the people of India belonging to different religions. The honour and respect for our country and its national flag should be immense from us. Every country has a national flag. Our National Flag is called ‘Tiranga’ which is based on its appearance as a tricolour. The saffron colour is the topmost, the middle colour is white and the lowermost colour is green. There is a navy blue Ashok Chakra in the middle stripe of white colour which contains 24 equally divided spokes.

Essay on National Flag in 250 words

Our national flag was adopted on July 22nd, 1947, which was some days before the Independence of India i.e. 15th August 1947. The national flag of India is called the Tiranga because it contains 3 colours. The Uppermost colour is saffron which symbolises selflessness and sacrifice. The middle one is white which symbolises the truth. Purity and peace. And the lowermost colour is green which indicates energy and youth. In the middle of the white stripe, there is a navy blue colour Ashok Chakra that is made up of 24 equal spokes. The National flag of India symbolises freedom, pride, honour, and unity. The Ashoka Chakra is a symbol of victory justice and honesty. 

Our national flag not only represents us but also teaches us some lessons such as peace, unity, humanity, etc. It helps us believe in unity and truth. Every year, the Prime Minister of India hoists the National Flag of India on the 15th of August and the same is hoisted by the President of India on the 26th of January. Both of them hoist the flag at the Red Fort which is then followed by an address to the people of India. Our national flag is made of Khadi, which is an article of hand-made clothing that was represented by Mahatma Gandhi. Flying off the national flag made up of clothes other than Khadi is strictly prohibited in our country. We should hoist our National Flag with pride and let the world know about the same.

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Essay on National Flag in 300 words

The national flag of India is also known as the ‘Tiranga Jhanda’. Our national flag was first adopted officially during the meeting of the Constituent Assembly on the 22nd of July, 1947. It was adopted 24 days before the Independence of India which was on 15th August 1947. The National Flag of India was designed by Pingali Venkayya in a horizontal shape containing 3 colours, saffron, white and green, all three were in equivalent proportions and the following sequence, the saffron was the topmost colour, the white in the middle and the green was the lowermost colour. The ratio of width to length in our national flag is 2:3. In the centre of the white strip, there is a navy blue coloured Ashok Chakra which consists of 24 spokes. This is derived from the Pillar of Ashok, Sarnath (Lion Capital of Ashoka).

The significance of the national flag is great to us all. It is the pride of the nation and the pride of every citizen of India as well. All the elements as well as colours used in the national flag have special significance and depict something. The display of the national flag is decided by the flag code of India. After the independence of India, for 52 years, the national flag was not allowed to be displayed by the people, however, this rule was altered later by the flag code 26th January 2002 allowing the use of the national flag at homes, offices, etc on special occasions. The national flag is hoisted on national occasions such as the Republic Day, the Independence Day, etc. It is also hoisted by schools and educational institutions such as universities to inspire students to honour and respect the Indian flag. 

During the same, students take an oath and the national anthem is sung during the unfurling of the flag. Private organisations may also hoist the national flag on special occasions and ceremonial events. Other than Khaki, no one is allowed to display the flag made of any other cloth. It is a punishable offence including fine and even imprisonment. It is also prohibited to intentionally dishonour the national flag or let it touch the ground, floor or trail in the water. It is also important to note that the national flag is displayed at a higher level. Our national flag is the pride of the nation. We should always respect it. 

Ans: Our National flag is the pride of our nation. It symbolises the unity of the people of India belonging to different religions. The honour and respect for our country and its national flag should be immense from us. Every country has a national flag. Our National Flag is called ‘Tiranga’ which is based on its appearance as a tricolour. The saffron colour is the topmost, the middle colour is white and the lowermost colour is green. There is a navy blue Ashok Chakra in the middle stip of white colour which contains 24 equally divided spokes.

Ans: The National flag of India is a symbol that represents India’s freedom as well as its integrity. It represents that India is governed by the people of the country without any foreign interference. The display of the Indian flag is our pride and it is a warning to the invaders. The significance of the national flag is great to us all. It is the pride of the nation and the pride of every citizen of India as well. All the elements as well as colours used in the national flag have special significance and depict something.

Ans: The Nation flag of India is a symbol that represents India’s freedom as well as its integrity. It represents that India is governed by the people of the country without any foreign interference. The display of the Indian flag is our pride and it is a warning to the invaders. Our Nation flag is based on the Swaraj Flag which was designed by Pingali Venakyya. The tricolour display is governed by the Flag code of India and any act of dishonour to the flag is a punishable offence.

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Short Essay on 'National Anthem of India' (150 Words)

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Great Concept. Whenever the anthem is sung or played live, the audience should stand in attention position. It cannot be indiscriminately sung or played randomly. Hence sahara people are putting their best effort to make the work record. We should also participate to achieve the world record. Today we live amid a sea of corruptions but tomorrow, through creativity and struggle, win the fight to free all of our heart and minds. Let’s get creative. Let’s win. Bharat Bhawna Diwas

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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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Indian Flag Essay

The Indian National Flag is a symbol of India’s freedom and its integrity. It symbolizes that the nation is governed by its own people, without any foreign interference. Prideful display of the flag demarcates Indian territories and act as a warning to the invaders. National Flag of India is a rectangular Tricolor with three horizontal stripes of saffron, white and green, from top to bottom respectively.

In the middle of the white stripe there is an impression of Ashoka Wheel of Ashoka Chakra printed in blue. The Flag is based on Swaraj Flag designed by Pingali Venkayya. Saffron represents courage and sacrifice, white is a symbol of peace and green represents fertility and prosperity. Tricolor display is governed by the Flag code of India and any act of dishonor to the National Flag is a punishable offence.

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Long and Short Essay on National Flag of India in English

The National flag of India is a symbol of honour and freedom for the country. It is of great significance to us. We should respect and know everything about our national flag.

Here we have provided some simple long and short essay on Indian National Flag. These Indian National Flag Essay are written in simple language so that they could be easily memorized and presented whenever needed.

After going through the essays you would know the history of our National flag as well as its significance in keeping the nation united.

You can select any of the below given essays and present it in speech, debates of essay writing competitions in your school or college.

National Flag of India Essay 1 (100 Words)

India is our country and our National Flag is very important for all of us. Our national flag is the symbol of unity for the people of different religions living here. We should honour and respect our country and its national flag. It is very necessary for every independent country to have a national flag. Our national flag is tricolour so also called as Tiranga. The topmost colour of our national flag is saffron, middle one is white and lowermost color is green colour. The middle strip of white colour contains a navy blue Ashok Chakra having 24 equally divided spokes.

National Flag of India Essay 2 (150 Words)

National flag is our unique identity of being a citizen of an independent nation. Every independent nation has its unique flag. Our national flag is a symbol of unity and freedom. The national flag is hoisted on every national occasion by the government official however Indian citizens are also allowed to fly the national flag on some occasions.

It is hoisted in the government offices, schools and other educational institutions on the occasions of Republic Day , Independence Day and other national events. Indian national flag was first time adopted on July 22 nd in 1947. Our national flag is a beautifully designed tricolour flag, also known as Tiranga. It is made up of hand-made Khadi clothes. It is completely restricted to make the Indian flag using clothes other than the Khadi. The topmost colour of national flag is saffron, middle white and lower deep green. Saffron colour symbolizes sacrifice and selflessness, white colour truth and purity and green youth and energy.

National Flag of India Essay 3 (200 Words)

The national flag of India was adopted on 22 nd of July in 1947 some days after the independence of India on 15 th of August, 1947 from the British rule. The Indian national flag contains three colours and thus also called as the Tiranga. The uppermost saffron colour indicates sacrifice and selflessness, middle white colour indicates truth, peace and purity and lowermost green colour indicates youth and energy. The middle white colour contains a navy blue colour Ashoka Chakra which has 24 equal spokes. Our national flag is a symbol of freedom, pride, unity and honour. Ashok Chakra indicates real victory of honesty and justice.

Our national flag teaches us the lesson of unity, peace and humanity. It helps us to believe in the truth and unity. It is hoisted every year by the Indian prime Minister of India on 15 th of August and by the President of India on 26 th of January. However, it is hoisted by both of them at Red Fort followed by address to people of India. Our national flag is made up of khadi clothe, a hand-made clothe initiated by the Mahatma Gandhi. It is strictly prohibited in our country to fly a national flag made up of clothe other than Khadi.

National Flag of India Essay 4 (250 Words)

India got independence after long years of struggle of more than thousands brave Indian freedom fighters. India got freedom on 15 th of August in 1947 from the British rule. Some days before the independence of India, the national flag of India was adopted on 22 nd of July in 1947 (in the meeting of constituent assembly) as a symbol of unity and great triumph. Our national is tricolour so called Tiranga Zanda. Our national flag is courage and inspiration for us. It makes us remember about the sacrifices of our great Indian freedom fighters. It makes us remember that how tough that moment was for them. Getting freedom was not so easy. We should always respect our flag and never let it go down for our motherland.

Our national flag is horizontally designed using tricolour strips of saffron, white and green. The middle white portion has navy blue Ashok Chakra with 24 spokes. All the three colours, Ashok Chakra and 24 spokes have their own meaning and significance. The uppermost Saffron colour symbolizes the devotion and renunciation. The middle white color indicates the peace and harmony. And the lowermost green colour indicates youth and energy. However, the Ashoka Chakra (means Wheel of Ashoka) symbolizes the peace and courageousness.

Our national flag is made up of khadi clothe which is a special hand-spun cloth initiated by the Mahatma Gandhi. All the manufacturing processes and designing specifications are handled by the Bureau of Indian Standards. It is strictly forbidden in our country to use the flag made up of other clothes instead of Khadi.

National Flag of India Essay 5 (300 Words)

Our national flag is also called as the Tiranga Jhanda as it has three colours. It contains tricolour horizontal stripes of uppermost saffron, middle white and lowermost green. The middle one white strip contains a navy blue Ashoka Chakra (also called Dharma Chakra) in its centre. The present time Indian national flag was first officially adopted in the Constituent Assembly meeting on 22 nd of July in 1947. The ratio of length and width of the Indian flag is 3:2.

Prevention of Improper Use Act, 1950 and Prevention of Insults to National Honour Act, 1971 both, governs the use and display of national flag. Flag Code of India was established in 2002 to govern all the laws, practices conventions, and instructions to respect and honour the Indian flag. The Indian national flag was first proposed by the Mahatma Gandhi in 1921 to the Indian National Congress. Our national flag was first designed by the Pingali Venkayya. It is considered that the saffron and green strip was decided to honour both religions like Hindu and Muslim. Later a white strip was added in the middle with a spinning wheel in the centre to symbolize the respect to other religions.

Before the independence of India, various Indian flags were designed to precede the Indian Independence Movement to get freedom from the British rulers. Finally the present design of the national was officially adopted. Earlier the display of national flag was prohibited by the common public and it was only displayed by the government officials during any national event however later it was allowed to the common public to display the national flag to their own premises. It is a symbol of unity and honour to our motherland, so we all should always respect our national flag and never let its honour go down.

National Flag of India Essay 6 (400 Words)

The National Flag of India is also known as the Tiranga Jhanda. It was first officially adopted during the meeting of Constituent Assembly on July 22 nd in 1947. It was adopted 24 days before the independence of India from British rule. It was designed by the Pingali Venkayya. It was so designed in horizontal shape having three colours of saffron, white and green in equivalent proportions. The upper saffron colour, white middle, lower dark green colours. Our national flag contains 2:3 ratio of width and length. In the centre a navy blue wheel having 24 spokes is designed in the middle white strip. Ashoka Chakra was taken from the pillar of the Ashok, Sarnath (Lion Capital of Ashoka).

Our national flag is of great significance to all of us. All the colours, strips, wheel and clothe used in the flag have their special significance. Flag code of India decides the use and display of national flag. Till 52 years after the independence of India, national flag was not allowed to display by the people however later the rule was altered (according to the flag code 26 th January 2002) to use flag at homes, offices and factories on any special occasion. National Flag is hoisted on the national occasions like Republic day, Independence day, etc. It is also displayed in the schools and educational institutions (colleges, universities, sports camps, scout camps, etc) to inspire the students for honouring and respecting the Indian Flag.

Students take an oath and sing national anthem while unfurling the national flag in the schools and colleges. Public and private organization members may also hoist the flag on any occasions, ceremonial event, etc. It is restricted to display the national flag for any communal or personal gains. Nobody is allowed to display the flag made of other clothes otherwise it is a punishment of imprisonment and fine. National Flag can be flown from morning till evening (sunrise to sunset) in any weather. It is prohibited to intentionally dishonour the national flag or touch it to the ground, floor or trail in water. It should not be used to cover the top, bottom, sides or back of any vehicle, like car, boat, trains, or aircraft. On flag other than the Indian should be displayed at higher level.

Essay on Importance of National Flag of India – Essay 7 (600 Words)

Introduction

National Flag of India, fondly known as Tiranga, is the nation’s pride. It is an important and integral part of the Republic of India. It represents the sovereignty of the country and is respected by its citizens. It is flown on all the government buildings in India. It is a ritual to hoist the national flag of India on national festivals such as Independence Day, Republic Day and Gandhi Jayanti.

Importance of the Indian National Flag

The National Flag of India reflects its culture, civilization and history. The flag flowing in the air is a symbol of freedom. It reminds the Indian citizens of the sacrifices made by the freedom fighters to free our country from the tyranny of the British. It also inspires them to be humble and value the freedom and independence they have attained after much struggle.

The Indian national flag is referred to as Tiranga as it consists of three colours -Saffron, White and Green. The saffron colour on the top symbolizes indifference which means our leaders must remain indifferent towards materialistic things. Serving the nation should be on the top of their priority list and they must do their work selflessly. The white colour in the middle represents truth and purity which means we must always follow the path of truth and right conduct. The green colour at the bottom symbolizes soil and nature and reminds us to stay grounded to our roots.

The Ashoka Chakra printed in the middle of the flag on the white portion is a symbol of the law of Dharma. It means that Dharma or virtue must be the main guiding principles of those who serve the nation. It is also a symbol of motion and inspires to keep moving in life irrespective of the challenges and hardships.

History of the Indian National Flag

It was Mahatma Gandhi who came up with the idea of a flag for the Indian National Congress in the year 1921 when the struggle for Indian independence was still going on. The flag had a spinning wheel printed in the middle as it symbolized Bapu’s goal of making the citizens of India self-reliant by spinning and fabricating clothes. The design of the flag evolved and improvised with time. On India’s independence, the flag was modified further and the spinning wheel was replaced by the Ashoka Chakra that is the eternal wheel of law.

Code of Indian National Flag

The citizens of India are expected to respect and keep the honour of the national flag of the country. A set of rules have been put in place against the mistreatment of the national flag. Some of these are as follows:

• Flying the Tiranga made of any material other than Khadi or hand-spun cloth is punishable by law.
• The flag can be carried during processions but must be borne only on the right shoulder of the bearer. Secondly, it must always be carried in front of the procession.
• The flag must always be held high and not lowered before anything.
• No other flag can be placed above the Tri-colour neither can it be placed to its right.
• Whenever the flag is in a moving column, the people present must stand in attention position and pay respect by saluting as it passes them.
• The flag must be flown at half mast to signify mourning. It is flown half mast across the nation in case of death of President, Vice-president and Prime Minister during their duty period.

Our National Flag is our pride. We must uphold its dignity even if it is at the cost of our lives. It must always flow high as it is a symbol of the freedom that was earned after years of struggle and sacrifices.

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