Anandmath

'Mother, hail!
Thou with sweet springs flowing,
Thou fair fruits bestowing, Cool with zephyrs blowing, Green with corn-crops
growing, Mother, hail!'
Written in the background of Sanyasi rebellion back in late 18th century by Bankim Chandra
Chatterji, the novel Anandmath is one of the most powerful and extraordinary political novels of
its time. Not only is it synonymous with the early freedom struggle against the British in the
backdrop of the infamous Bengal famine, it also portrays the motherland in her supreme form, a
divine form above all- for whom even renunciation from family and ones own desires is nothing.
Back in those days the novels played a significant role in instilling a sense of pride for the
motherland and protect her from the oppressive rule of the British.
The entire novel is divided into four parts, but the sense of nationalism reverberates with equally
strong intensity throughout. The book is not entirely conversational nor entirely descriptive,
rather it used both the techniques. The imageries and descriptions of events and surroundings
are strong that as a reader one would feel as if he is living in those times and watching the entire
action oneself. One such beautiful instance can be seen in the following, where the author has
given such a picturesque description of a typical Indian summer daywhentheearthburnslikeafurnace.Thescorchingraysofthesunhadasifsetfiretotheair.Thesky
waslikeaburningcanopyofcopper.Ontheroadthegrainsofsandwerelikeflakesoffire.
What makes the story different is that the characters (the Children of Mother India-the freedom
fighters) are not from any specific mainstream Indian social class but include people from all
social boundaries who have put aside all their boundaries of discrimination and renunciated their
families to come together for the supreme service.
Wearenotafraid.Amanneverdiesmorethanonceinhislife.Andwhatdeathwoulditbeifitoccurs
intheserviceforourMother.Somethingworthdyingfor.
The characters Mahendra Singh and his wife Kalyani give up their ancestral home and riches
as a consequence of the famine and eventually their destinies get entwined with the Children.
The central characters comprising Mahendra, Jiban, Bhavan, Mahatma Satya, etc. are shown to
be people with many different layers to their personalities. Jiban and Bhavan face their own
dilemma at various points of time regarding their choice between their personal life and service
to the motherland, and then regarding the atonement for their sins. Mahatma Satya is shown as
a selfless ascetic who is actually behind this rebel movement- the guiding force. At one or two
instances he is felt to possess some divine powers as well, like a typical fictional ascetic. In his
female characters, the author has painted a sort of contrast in the characters of Shanti and
Kalyani. Although both have been described as women of beauty beyond imagination, yet we
see some differences. Kalyani is a typical domesticated wife who is ready to give her life (and
almost gave it) to prevent herself from being a hindrance in her husbands path. Shanti is
assertive and bold, while Kalyani is meek and submissive. While Shanti can fight and kill men
(like she showed when she disguised herself as Nabin among the Children and played an active
role in the battles), Kalyani cannot even protect herself. It is an interesting contrast to find in the
work of an author of earlier times when at other places he has placed the social prejudices as
they were. However, these multitudes of personalities are brought together under a common
objective and they contribute in their own ways towards the ultimate service.
The fact that the author is from a poetic background is ingrained and borne out by his frequent
usage of verses from his popular song Vande Mataram (first published in this novel and
presently the National song of India). As far as the song is concerned, it is most poignant and
moving. Going by the impact it had on the characters of the story, I am pretty sure it must have
deeply moved the people then who were impatient and restless for a change of situations. The
song was a binding force, a source of energy, a song of revolution, a victory song to the freedom

fighters of that time. It was sung with such vigour that it could even overpower the sounds of
British cannons.
..LetscrushtheBritishruleinIndiaunderourfeet.Letusburntheirsceptreintoashes,andthenscatter
theashestothewinds.Brothers,singBandeMataramagain!'
Although the main theme of the novel is woven around the feeling of nationalism, the story also
presents the subtleties in human relations. The Children present a perfect example of brothers in
arms guided under one common objective, ready to die for the motherland. The story also talks
about the intricacies of a husband-wife pair. Even after renouncing their households, the JibanShanti and Mahendra-Kalyani pairs share a special connection within themselves. The husband
and wife were two halves of the same soul.
I would conclude by saying that this novel by Bankim Chandra can claim full recognition as
historical fiction imbued with the spirit of nationalism. It is a political novel charged with selfless
patriotism and a plot with epical dimensions that successfully establishes Anandmath more as
an Indian fable.
'Mother, hail!
Thou with sweet springs flowing,
Thou fair fruits bestowing, Cool with zephyrs blowing, Green with corn-crops
growing, Mother, hail!'
Written in the background of Sanyasi rebellion back in late 18th century by Bankim Chandra
Chatterji, the novel Anandmath is one of the most powerful and extraordinary political novels of
its time. Not only is it synonymous with the early freedom struggle against the British in the
backdrop of the infamous Bengal famine, it also portrays the motherland in her supreme form, a
divine form above all- for whom even renunciation from family and ones own desires is nothing.
Back in those days the novels played a significant role in instilling a sense of pride for the
motherland and protect her from the oppressive rule of the British.
The entire novel is divided into four parts, but the sense of nationalism reverberates with equally
strong intensity throughout. The book is not entirely conversational nor entirely descriptive,
rather it used both the techniques. The imageries and descriptions of events and surroundings
are strong that as a reader one would feel as if he is living in those times and watching the entire
action oneself. One such beautiful instance can be seen in the following, where the author has
given such a picturesque description of a typical Indian summer daywhentheearthburnslikeafurnace.Thescorchingraysofthesunhadasifsetfiretotheair.Thesky
waslikeaburningcanopyofcopper.Ontheroadthegrainsofsandwerelikeflakesoffire.
What makes the story different is that the characters (the Children of Mother India-the freedom
fighters) are not from any specific mainstream Indian social class but include people from all
social boundaries who have put aside all their boundaries of discrimination and renunciated their
families to come together for the supreme service.
Wearenotafraid.Amanneverdiesmorethanonceinhislife.Andwhatdeathwoulditbeifitoccurs
intheserviceforourMother.Somethingworthdyingfor.
The characters Mahendra Singh and his wife Kalyani give up their ancestral home and riches
as a consequence of the famine and eventually their destinies get entwined with the Children.
The central characters comprising Mahendra, Jiban, Bhavan, Mahatma Satya, etc. are shown to
be people with many different layers to their personalities. Jiban and Bhavan face their own
dilemma at various points of time regarding their choice between their personal life and service
to the motherland, and then regarding the atonement for their sins. Mahatma Satya is shown as
a selfless ascetic who is actually behind this rebel movement- the guiding force. At one or two
instances he is felt to possess some divine powers as well, like a typical fictional ascetic. In his
female characters, the author has painted a sort of contrast in the characters of Shanti and
Kalyani. Although both have been described as women of beauty beyond imagination, yet we

see some differences. Kalyani is a typical domesticated wife who is ready to give her life (and
almost gave it) to prevent herself from being a hindrance in her husbands path. Shanti is
assertive and bold, while Kalyani is meek and submissive. While Shanti can fight and kill men
(like she showed when she disguised herself as Nabin among the Children and played an active
role in the battles), Kalyani cannot even protect herself. It is an interesting contrast to find in the
work of an author of earlier times when at other places he has placed the social prejudices as
they were. However, these multitudes of personalities are brought together under a common
objective and they contribute in their own ways towards the ultimate service.
The fact that the author is from a poetic background is ingrained and borne out by his frequent
usage of verses from his popular song Vande Mataram (first published in this novel and
presently the National song of India). As far as the song is concerned, it is most poignant and
moving. Going by the impact it had on the characters of the story, I am pretty sure it must have
deeply moved the people then who were impatient and restless for a change of situations. The
song was a binding force, a source of energy, a song of revolution, a victory song to the freedom
fighters of that time. It was sung with such vigour that it could even overpower the sounds of
British cannons.
..LetscrushtheBritishruleinIndiaunderourfeet.Letusburntheirsceptreintoashes,andthenscatter
theashestothewinds.Brothers,singBandeMataramagain!'
Although the main theme of the novel is woven around the feeling of nationalism, the story also
presents the subtleties in human relations. The Children present a perfect example of brothers in
arms guided under one common objective, ready to die for the motherland. The story also talks
about the intricacies of a husband-wife pair. Even after renouncing their households, the JibanShanti and Mahendra-Kalyani pairs share a special connection within themselves. The husband
and wife were two halves of the same soul.
I would conclude by saying that this novel by Bankim Chandra can claim full recognition as
historical fiction imbued with the spirit of nationalism. It is a political novel charged with selfless
patriotism and a plot with epical dimensions that successfully establishes Anandmath more as
an Indian fable.

The book is set in 1771[3] during famine in Bengal (see Famine in India, for more
information about famine in India under the British regime). Book starts with
introduction to a couple- Mahendra and Kalyani, who are stuck at their village
Padchinha without food and water in the times of famine. They decide to leave their
village and move to the next closest city where there is a better chance of survival.
During the course of events, the couple got separated and Kalyani had to run
through the forest with her infant, to avoid getting caught by man-hunters. After a
long chase, she loses consciousness at the bank of a river. A Hindu monk,
Satyananda, stumbles upon her and the baby, and takes care of her till she reunites
with her husband again.
Mahendra at this point is more inclined towards joining the brotherhood of the
monks and serving the Mother Nation. Kalyani wants to help him in attaining his
dreams by trying to kill herself, thereby relieving him of worldly duties. At this point,
Satyananda joins her but before he can help her, he is arrested by the British
soldiers, because other monks were fuelling revolt against the British rule. While
being dragged away he spots another monk who is not wearing his distinctive robes
and sings,
"In mild breeze, by the bank of the river,
In the forest, resides a respectable lady."
The other monk deciphers the song, rescues Kalyani and the baby, taking them to a
rebel monk hideout. Concurrently, Kalyani's husband, Mahendra, is also given
shelter by the monks, and they are reunited. The leader of the rebels shows

Mahendra the three faces of Bharat-Mata (Mother India) as three goddess idols
being worshipped in three consecutive rooms:
What Mother Was An idol of Goddess Jagaddhatri
What Mother Has Become An idol of Goddess Kali
What Mother Will Be An idol of Goddess Durga
Gradually, the rebel influence grows and their ranks swell. Emboldened, they shift
their headquarters to a small brick fort. The British attack the fort with a large force.
The rebels blockade the bridge over the nearby river, but they lack any artillery or
military training. In the fighting, the British make a tactical retreat over the bridge.
The Sannyasis undisciplined army, lacking military experience, chases the British
into the trap. Once the bridge is full of rebels, British artillery opens fire, inflicting
severe casualties.
However, some rebels manage to capture some of the cannons, and turn the fire
back on to the British lines. The British are forced to fall back, the rebels winning
their first battle. The story ends with Mahendra and Kalyani building a home again,
with Mahendra continuing to support the rebels.
The national song of India i.e. Vande Mataram is taken from this novel.
Characters
Mahendra: A wealthy Zamindar (Landowner), living in Padachihna with his wife and
daughter. They are forced to leave the village to find a new mode of living.
Mahendra is initiated to the Anandamath by Guru Satyananda. The Guru orders
Mahendra to use his wealth to manufacture ammunition for the Anandamath.
Satyananda: The founder and main Guru of Anandamath, a rebel group to oppose
the British rule in India. His disciples are required to renounce their attachments
until India is freed. Satyananda was acting upon the orders of his Guru, a mysterious
saint, who explains his true motives. The Guru explains Satyananda that Indians
need objective knowledge from the British to once more understand the subtle
truths of the ancient scriptures. Satyananda goes with his Guru to the Himalayas for
penances.
Bhavananda: A brave commander of Anandamath who dies during the battle
against the British.
Jivananda: The most accomplished and loyal disciple of Satyananda. He rescues
Mahendra's family and reunites them. His wife and lover, Shanti, later becomes the
first and only woman to join the Anandamath and fights alongside Jivananda. In the
end Jivananda is grieveously injured in battle but is revived by Shanti. The young
married couple decide to go on a pilgrimage and live as ascetics.
Navinananda a.k.a Shanti: She is the tomboyish daughter of a Brahmin and is
well educated. Shanti was orphaned at a young age and became physically fit and
strong. Shanti met Jivananda who married her out of pity as Shanti had no one to
take care of her. Jivananda left Shanti as a part of renouncing his attachments and
to fight for Anandamath. Shanti is left in the care of Jivananda's married sister.
However, Shanti is deeply in love with her husband and cannot bear to live away
from him. She disguises herself as a man and joins Anandamath as a freedom
fighter. Satyananda tries to forbid her from entering, but he is shocked at Shanti's
physical strength when she strings a mighty bow which only he and Jivananda were
the only Sannyasins to be able to do so. Satyananda allows Shanti to stay and gives
her the name Navinananda. Shanti rescues Kalyani from dacoits. She gathers
intelligence from the British and fights in battles alongside her husband. At the end
of the battle, at nightfall, Shanti discovers Jivananda's seemingly lifeless body and
grieves for him. Satyananda's Guru gives Shanti a herb, with which she revives
Jivananda. Shanti suggests Jivananda that they go on a pilgrimage and live together
in a forest as ascetics, to which her husband reluctantly agrees.