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Originally written in highly Sanskritised Bengali by Bankim Chandra Chattopadhyay, Vande Mataram was composed in the 1870s and the novel was published in Anandamath.
Vande Mataram, which literally means “I bow to you, mother”—the mother here represents the motherland—-has six verses. (PTI)
Union Home Ministry issued New guidelines on ‘Vande Mataram’ On Wednesday, the national anthem once again came into the limelight, which has been a bone of contention between the ruling government and the opposition Congress since late last year.
The new rules state that the national anthem should be sung before the national anthem in all government programs and schools and everyone should stand at attention while it is being played. However, the most important aspect is that the entire six-stanza version of the song, including the four verses that were historically excluded from official use by Congress, must be played or sung.
Moreover, when both the National Anthem and Jana Gana Mana are played in the same programme, Vande Mataram should be played first. Schools across India have been directed to include national songs in assemblies and promote respect for national symbols. The song is played during state functions, civil awards ceremonies, flag hoisting ceremonies and ceremonial functions during the arrival and departure of the President and Governors. The guidelines do not apply to movie theater screenings – if the song is played as part of a film or documentary, the audience is not required to stand where standing might obstruct the view.
Given the controversial history of the song and its meaning, the latest directive from the Home Ministry assumes significance. News18 takes a look at India’s national song, why it was shortened and what’s the latest controversy:
History of Vande Mataram
Originally written by Bankim Chandra Chattopadhyay in highly Sanskritised Bengali, Vande Mataram was composed in the 1870s and published in Anandamath (1882), a novel set during the Sanyasi Rebellion.
Soon, the song transcended literature and became a rallying cry in India’s freedom struggle. It was first sung by Rabindranath Tagore in 1896 at an Indian National Congress session. British authorities later considered it politically charged and, in some cases, banned its public singing because it inspired nationalistic sentiment.
Before independence, some Muslim leaders raised concerns about some of the latter’s verses which portray the nation as a symbol of Hindu goddesses such as Durga and Lakshmi. In 1937, the Indian National Congress decided that only the first two verses would be used for official purposes as they focus on the natural beauty of the motherland and are less religious in imagery.
On 24 January 1950, the Constituent Assembly of India gave Vande Mataram the status of national song, while Jana Gana Mana became the national anthem. The first two verses were officially recognized for ceremonial use.
Vande Mataram, which literally means “I bow to you, mother” – here the mother represents the motherland – has six verses and here’s what each of them means:
Verse 1
“Vande Mataram” – I bow to you, mother.
The motherland is described as rich with flowing water, laden with fruits, cooled by mild winds and green with crops. This means that India is portrayed as fertile, nurturing and life-giving.
stanza 2
This land is described as smiling and sweet-speaking, giving joy and blessing, meaning that the motherland is not only physically beautiful but emotionally and spiritually comfortable.
Verse 3
The mother is said to be powerful, protector of millions and destroyer of enemies. This means that India is considered strong and capable of protecting its people.
Verse 4
The nation is equated with Durga (goddess of power), Lakshmi (goddess of prosperity), and Saraswati (goddess of wisdom), meaning the nation is considered a symbol of divine feminine power – a blend of spirituality with patriotism.
Verse 5
Mother has been described as the source of knowledge, source of faith and source of devotion. Therefore, the land shapes the identity, culture and spiritual life of its people.
verse 6
The final affirmation of devotion occurs when the speaker pledges allegiance and reverence to the motherland, and ends the song as a patriotic pledge of dedication.
What was the main objection?
The entire song (six verses) portrays India as a goddess, often invoking Hindu deities such as Durga, Lakshmi and Saraswati. For example, lines like “Thou art Durga, woman and queen” connect the motherland to divine Hindu figures.
At the time, Muslim leaders and communities felt that singing the entire song could be religiously inconvenient or idiosyncratic, especially in a diverse country like India.
Critics argued that imposing the full song in schools, government functions or public events could alienate minorities, especially Muslims and Christians. Since nationalism was associated with colonial resistance, some feared that national symbols should not support any one religion.
Another major reason was the context in which the song was used in the novel Anandamath, which critics say pits Hindus against Muslims and not against the British colonial power.
Congress is in a dilemma, Tagore suggested a middle path
Rabindranath Tagore, who was a close contemporary of Bankim Chandra Chattopadhyay, praised Vande Mataram as a powerful patriotic song and acknowledged its role in inspiring Indians during the freedom struggle, recognizing its emotional and cultural impact. In fact, long before becoming a part of the movement, Tagore was the one who composed the tune of this song, sang it and performed it at a Congress event in Kolkata in 1896.
However, despite appreciating its sentiment, Tagore had reservations about implementing this hymn as a mandatory national song. He was concerned that the religious imagery in the later verses (associating India with Hindu gods and goddesses) might alienate minority communities. In his writings and letters, Tagore stressed that nationalism should not conflict with humanity or spiritual universalism. For him, patriotism should be inclusive and not tied to communal symbols.
In 1937, when the Congress faced a dilemma over singing Vande Mataram at the party session in Kolkata, senior leaders like Jawaharlal Nehru and Subhash Chandra Bose sought Tagore’s opinion.
According to an article in Outlook, Tagore wrote to Nehru explaining that the feeling of tenderness and devotion expressed in the first part (first two stanzas) of Vande Mataram and its focus on the beautiful and beneficial aspects of our motherland appealed to him so strongly that he had no difficulty in separating it from the rest of the poem and the novel.
He explained that, apart from the extraordinary quality of these early verses, having been brought up in monotheistic Brahmo ideals, he would not have felt any particular sympathy or emotion for the text. Addressing the concerns of the Muslim community, he said he fully accepts that the entire poem, when read in its original context, “could be interpreted in a way that could hurt Muslim sensitivities.” Nevertheless, he argued, the first two stanzas should not be seen as a continuous reminder of the entire poem, or of the story (Anandamatha) with which they were associated.
Choosing a pluralistic approach, Tagore emphasized that the first two verses “have acquired a distinct personality and a persuasive significance of its own in which I do not see anything derogatory to any sect or community.” Based on this understanding, Congress adopted a compromise formula and officially recognized only the first two verses as the national song.
The debate returned to Parliament
As the country celebrated the 150th anniversary of Vande Mataram, both the ruling Bharatiya Janata Party (BJP) government and the opposition Congress raised rhetoric in Parliament and public forums.
In November last year, Prime Minister Narendra Modi had alleged that removing “important verses of Vande Mataram” meant alienating a part of its soul that “also sowed the seeds of division of the country.” Describing the issue as relevant, the Prime Minister argued that “the same divisive thinking remains a challenge for the country even today”. Congress must respond to the “injustice” with the “great mantra of nation building”.
Raising the issue during a special discussion held in Parliament on December 8 to commemorate the 150th anniversary of the song, PM Modi called on Nehru to “bow down before the Muslim League”, alleging that the Grand Old Party compromised on Vande Mataram, “the mantra of India’s freedom struggle”.
The Congress, on its part, has strongly opposed the claims, arguing that the BJP is politicizing the song for contemporary gains, especially citing the impending assembly elections in West Bengal.
The party argued that the 1937 decision to use only the first two verses was intended to maintain inclusive secularism in a religiously pluralistic society, not to disparage the song. Congress leaders also shared the historical explanation that the choice was made on the advice of figures like Tagore to avoid angering minority communities.
Leaders like Priyanka Gandhi Vadra accused the government of creating controversy and diverting attention from real issues, accusing it of selectively quoting history and unnecessarily targeting leaders like Nehru.
February 11, 2026, 13:43 IST
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