We either love someone or hate someone ALL the way. Once you dislike someone, they cannot stand anything that person represents. A very silly and immature way to look at people, subjects, challengers etc.
What kind of a statement is this in a national anthem?
>>>>>>>> Good question. We are emotional people and often kick "Logic" out of the door when we do such "Important" and "Critical" decisions for our nation. I can think of many inspiring songs but guess I am a little late talking about that now. It has been selected and will likely to remain there....
From: Sukhamaya Bain <subain1@yahoo.com>
To: mukto-mona <mukto-mona@yahoogroups.com>
Sent: Fri, Oct 7, 2011 5:08 am
Subject: Re: [mukto-mona] Tagore wrote Jana Gana Mana For Lord Krishna - Logically Proved.
To: mukto-mona Yahoogroups <mukto-mona@yahoogroups.com>
Sent: Wednesday, October 5, 2011 4:59 PM
Subject: RE: [mukto-mona] Tagore wrote Jana Gana Mana For Lord Krishna - Logically Proved.
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Friday, October 7, 2011
Re: [mukto-mona] Tagore wrote Jana Gana Mana For Lord Krishna - Logically Proved.
The problem is not with Rabindranath. He has done his contribution to our culture. The problem is with US!!
-----Original Message-----
I mostly agree with Ms. Majid here.
However, I do not like the fact that much of the discussion (by many in various forums) on this subject focuses on criticizing Ravindranath. I think the criticism should really be against the emotional, personality-worshiping (and personality-hating), whimsical, and irresponsible psyche that much of the cultural Indian (including Bangadeshis) population and leadership possess.
Ravindranath was an 'imperialist-piyari British rule panderer' all right. But that is not the point that we need to care about. What we really need to care about is, why should an emperor-worshiping song be taken as the national anthem of India? I do not really care what Ravindranath was thinking almost a hundred years back when he wrote this song. What I care about is the song itself; and to me, it sounds more like an emperor-worshiping song, as opposed to one that expresses deep love and appreciation for India (or mother India). I am sure, there were other songs that would have been better for a national anthem. An example would be D. L. Roy's "Dhano Dhanyo Pushpo Bhara."
But Ravindranth made the Indians too proud for the leaders at the time to be objective. Their Ravindra-worshiping psyche was likely to have played an overwhelming role in choosing this song for the national anthem of India.
Looking a bit close to our home in Bangladesh, I have a serious problem with one part of the national anthem. "Ma tor badan khani molin holay ami nayan jalay bhashi." What kind of a statement is this in a national anthem? A national spirit should do better than just crying when the motherland has a shade of sorry state. A caring, capable, and spirited child has to methodically attack any force that distresses the face of the mother(land), than just crying. (By "any force" I mean a lot of things; such as corruption, crime, lawlessness, discriminatory laws, external threats, and so on.)
Here again, Ravindranath was unquestionably the greatest Bangalee literary talent; and our intellectuals and political leaders at the time treated him like a god and took the first sentences of the song, no questions asked. The same song has quite a few sentences later that, I think, would make better wordings for a national anthem. But, again, the problem was not with Ravindrantah; he had his great talent, not necessarily perfect everywhere. The problem was the Ravindra-worshiping psyche of our intellectuals and leaders.
So long for now,
Sukhamaya Bain
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From: Farida Majid <farida_majid@hotmail.com>
What an Imperialist-piyari British rule panderer! Rabindranath's 'jana gana mana' song was actually not too far from these sentiments.
Rabindranath had to deny the song's association with King George V's visit to India when confronted. He bald faced lied. What else could he do? I have studied Rabindranath at length and know that he is clever about being dishonest.
Let us think culturally. Traditionally in Bengal, a patriotic song or hym to the land of one's birth is addressed to "Mother" -- the land being a female figure of feritility even in the Muslim tradition. Bankim's 'Bande Mataram' is a typical model that was followed by many authors and composers including Muslim poets like Kazi Nazrul. In Iqbal's 'saare Jahan se accha' you don't get the image of Hindustan figuring as a dominant male. [That is the reason I strongly oppose the accusation of Bankim's 'Bande Mataram' being a communal song -- all 'saat koti' santaan of mother Bengal could be of any religion]
Suddenly, out of nowhere comes this weird, dangerous component of an idea of a MALE leader, or a commander -- adhinayaka -- a decider on behalf of jana-gana's mind! Wow! That is against the concept of any religion. Hindu or Muslim prayers to God are done in supplication --lead us from darkness to light; or cleanse us of impurities; bestow prosperity on us; or lead us on the the straight path and not on the path of those you have cursed, etc. Man's mind has the free-will, it is liable to go astray, hence the prayer to the deity for assistance in leading to Truth and righteousness. But the idea of a dominant male commander of people's mind is utterly bewildering!
Rabindranath had often expressed satisfaction of being under the British rule in many of his prose writings. This is the fist time in history, he says, that all of India is under one rule and one umbrella. His songs and literature is strewn with his intense Raja-preeti. 'Jana-gana-mana' is actually a Raja-vandana, a foreign Raja to whom all the provinces, rivers and seas of India are subservient.
Contrast jana gana mana with Amar Sonar Bangla, which is composed eariler in a very different mood and with a very different political background of protessting the partitioning of Bengal by the British. Here Rabindranath is addressing the Mother, which is perfectly natural. Moreover, instead of a Brahmo samaj hymn tune he adopts a baul tune from a popular song that he heard from Gagon Harkara, the postman in Shelaidoho in East Bengal. Rabindranath used to love to sing the song himself. The American poet, Ezra Pound heard him sing the song in 1912 at the home of the artist Rothenstein in London.
More later.
Farida Majid
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