As India commemorates 150 years of the national song Vande Mataram, a fresh political controversy has erupted, this time centered around historical interpretations of the song’s adoption and the role played by India’s first prime minister, Jawaharlal Nehru. The Bharatiya Janata Party (BJP) has levelled a significant accusation, claiming that Nehru deliberately removed stanzas referring to Goddess Durga when the shortened version of Vande Mataram was approved for official use in the 1930s. The charge, made ahead of Prime Minister Narendra Modi’s address at a major celebration in New Delhi, has once again reignited long-standing ideological disagreements surrounding the song’s origins and its place in the national imagination.

The claim was articulated by BJP spokesperson C. R. Kesavan, who took to social media to present what he described as documentary evidence from the late 1930s. According to Kesavan, the Congress leadership of that time committed a “historic sin and blunder” by truncating the song during Nehru’s presidency of the party. He asserted that stanzas explicitly praising Goddess Durga were removed despite the fact that Bankim Chandra Chatterjee’s original composition featured these lines as an expression of deep cultural and literary devotion. Vande Mataram, first published in 1882 within Bankim’s iconic novel Anandamath, had long been considered a rallying cry in India’s freedom struggle. Kesavan’s remarks framed the Congress decision as a politically motivated move intended to placate certain sections of society.

Kesavan cited two letters written by Nehru in 1937 to support his argument. In one of these, dated September 1, Nehru allegedly described as “absurd” the notion that Vande Mataram’s references to a divine figure should be interpreted literally or centred on a specific Goddess. According to Kesavan, Nehru dismissed any association between the song’s imagery and a religious deity, suggesting that such connections were misplaced. Kesavan contrasted this view sharply with the position held by Netaji Subhas Chandra Bose, who, he claimed, favoured the release and public presentation of what he called the “full original” version. Kesavan argued that Bose’s position reflected a purer, more authentic commitment to India’s cultural past, while Nehru’s views betrayed what he described as a “Hindu Virodhi” or anti-Hindu mentality.

In another communication referenced by Kesavan, dated October 20, 1937, Nehru reportedly wrote to Netaji stating that the background of Vande Mataram could irritate Muslims. Nehru is said to have added that the outcry over the song appeared to have substance and that it had emotionally impacted people who were already sensitive to communal questions. According to Kesavan, these letters reveal a pattern in which Nehru deliberately prioritised political sensitivities over cultural heritage, thereby setting a precedent that, in the BJP’s view, had long-term consequences for how the national song was handled in public life.

These allegations emerged just hours before Prime Minister Narendra Modi was scheduled to speak at a commemorative event at Delhi’s Indira Gandhi Indoor Stadium. The occasion, marking 150 years since the composition of Vande Mataram, had already brought renewed focus to the song’s historical and cultural significance. Modi’s presence was expected to underscore the government’s emphasis on reclaiming national symbols and celebrating figures associated with India’s independence struggle. Kesavan’s comments, therefore, served to frame the event within a broader political narrative that positions the BJP as the custodian of cultural authenticity and critiques the Congress for what the BJP views as historical compromises.

Kesavan’s remarks did not stop at archival references. He also sought to connect Nehru’s alleged stance with contemporary politics, drawing parallels to Congress leader Rahul Gandhi. Kesavan accused Gandhi of continuing what he termed a dismissive attitude toward Hindu traditions, citing Gandhi’s recent criticism of the government during Chhath Puja. Rahul Gandhi had stated that the BJP was staging “a drama” by building a separate pond for Prime Minister Modi to take a ritual dip in Delhi. Kesavan argued that such comments displayed a pattern of insensitivity towards sentiments of Hindu devotees, linking them directly to what he described as Nehru’s earlier disapproval of overtly religious themes within national symbols.

While the BJP’s attack focused on Nehru and the Congress, the controversy brought renewed attention to the broader historical context of Vande Mataram’s adoption. Bankim Chandra Chatterjee’s hymn was originally written in Sanskrit-infused Bengali and became one of the most frequently recited rallying cries during the Swadeshi movement. In its full form, the song contains several stanzas that evoke images of the motherland personified as a divine figure, drawing parallels to Goddess Durga. These stanzas, rich in poetic imagery, contributed to its popularity among nationalist writers, freedom fighters, and public leaders.

However, the song’s religious imagery also contributed to its complex political journey. Leaders of the Indian National Congress in the early 20th century debated the song’s suitability as a national anthem, particularly as its references to Hindu iconography risked alienating sections of India’s Muslim population. By the 1930s, the party sought a version that would preserve the spirit of the song while ensuring it could serve as an inclusive national symbol. Ultimately, the first two stanzas, which were viewed as more secular and universal in tone, were adopted for public use. This truncated version later became the national song of India in post-independence years, with Jana Gana Mana formally adopted as the national anthem.

The BJP’s revival of this debate exemplifies a long-standing political fault line. Supporters of the Congress argue that the party’s decision in the 1930s reflected a pragmatic, inclusive approach aimed at maintaining communal harmony during a volatile period. Critics, such as Kesavan and others in the BJP, argue that the decision represented a retreat from cultural authenticity and an appeasement-oriented mindset. These contrasting narratives reflect broader ideological disagreements between the two parties over legacy, culture, and interpretations of history.

As the debate intensifies in the backdrop of official celebrations, the controversy surrounding Vande Mataram’s stanzas underscores the enduring power of national symbols. Whether seen through the lens of cultural heritage or political ideology, the song continues to evoke strong emotions. Bankim Chandra’s original composition, first published in the 19th-century literary journal Bangadarshan as part of Anandamath, remains one of the most influential works in India’s nationalist canon. Its legacy, both celebrated and contested, continues to shape India’s political and cultural discourse more than a century after it was written.