Book
Review: Anandamath – Bankim Chandra Chatterjee, translated from the original by
Basanta Koomar Roy
Published in 1882, Anandamath by Bankim Chandra Chatterjee is among the foremost works
of Bengali and Indian literature. The
significance of this literary piece by Chatterjee is augmented by the
nationalistic premise of the book, being the primary reason for the book’s
momentous acclaim, particularly in India. The Indian national song, Vande Mataram, has also been taken from
this very work. The British banned the book when it was published initially,
but the Indian Government lifted the ban after Independence.
Set in the late eighteenth century, Anandamath is a Bengali novel based
roughly on the Sanyasi Rebellion of 1771. Critical analysis by many Indian
litterateurs has made it evident that this work is not Chatterjee’s best work,
but is yet by far the most read; primarily owing to the fact that the book had
infused a nationalistic fervor and sense of patriotism among the targeted
audience, and has thus been phenomenal.
The book opens at a prophetic moment, with the
village of Padachina being struck by a famine. The famine has been vividly
described, and Chatterjee has gained recognition for his particular descriptive
style that has carried throughout the book.
Initially the plot revolves around one Mahendra,
a wealthy landlord who is starving despite his riches; the intensity of the
famine was such. There is destruction everywhere, with men, women and children
dying of hunger. A series of events thus follow, beginning with the separation
of Mahendra and his wife, and their reunion with the aid of a certain group of Sanyasis who are planning a revolt to
overthrow the British from India. It is here that Chatterjee first projects the
notion of the nation as a Mother, and
all the citizens as its Children. The
song Vande Mataram, sung by one of
the characters as Mahendra is taken to Ananda Math (the group of rebels also known
as the Children) is particularly
intense, and has an effect on Mahendra, who was initially sad and silent, but
bursts into song after comprehending the meaning of the verse.
The story then progresses with the event of
initiating Mahendra into the Children. The
successive characterizations of the country as a Mother, with the comparison of
the two maps, one in tatters and the other one being a glowing, golden
‘heavenly’, bring tears to Mahendra’s eyes, although renouncing his wife and
children is something he could not do. A series of successive dramatic events
later, which include the capturing of Mahendra by the British and his escape, Mahendra
is eventually initiated into the order.
The plot continues henceforth shifting focus
from Mahendra to Jiban and his wife Shanti, different, prominent members of the
Children which transpire to be the
eventual protagonists of the story. The rebellion heightens quickly, with the
building of a fort at Padachina, and the manufacture of artillery. The famine
fades, and dense forests cover the villages in the absence of living
population. Subsequently the Children are able to convince multitudes of villagers
to join the order, and encounters with the British begin.
The book continues with the battles between the Children and the British, and is
progressively dramatic in detail. It culminates in the Children being successful in their mission, (unlike the actual
Sanyasi rebellion). A few of the primary characters are killed in the wars, and
Jiban is miraculously healed by a mysterious healer, and the novel ends on a
positive note, with Shanti and Jiban singing Vande Mataram, walking hand in hand, into the distance.
The writing in the book is engrossing and
entertaining, to a certain degree. Chatterjee is known for the patriotism that
is featured majorly in his works, and Ananda Math is a perfect example.
Although the book has historical references, the view projected is quite narrow
and not to any actual characters in particular, just undefined incidents, with
no social or political aspects attached to them.
The social sentiments described in the book are
neat and proper. The love stories that are present are not immoral and they
revere the social conventions of the time. The relationship between Bhavan and
Kalyani has been conveyed meritoriously and morally, complying with
Chatterjee’s ideals about human relationships. His principles are often strict
and thus prevent him from exploring many literary possibilities, however.
Chatterjee doesn’t emphasize particularly on
relationships between individuals, or the intricacies of human character. His
concentrations on his writing are mainly to convey virtues and ideas, and are
mostly conventional in nature.
The translation of the work from the original
could be imagined as a difficult task, considering the particularity of the
Bengali language and the writing style of Chatterjee in specific. But Basanta
Koomar Roy has meticulously succeeded in retaining the original style of
writing to a certain degree, given the significant difference in the generic
writing style in both languages. The dramatization is adequate and although is
sometimes disjoint from the primary flow of the script, nevertheless, the reader
is engrossed.
The originality of Chatterjee is maintained
amply, with most imageries and characterizations being conveyed with ease. The
translations of the verses used in the book are appreciable and manage to
convey, to a certain level, the feel of the original writing.
This particular translation was published in
1941, and hence, some elements of the original script have been omitted from
the translation, owing to the political circumstances of the time. In
particular, I refer to the suggestion of the mysterious physician, which gives
a particular insight to the thinking of Chatterjee, that is, his views on the
British Raj being necessary for the country as well.
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