Menon's Table

Sunday, August 20, 2006

INDIAN NATIONAL ANTHEM

India's national anthem, Jana Gana Mana Adhinayaka, was written by Rabindranath Tagore in the honour of King George V and the Queen of England when they visited India in 1919. To honour their visit Pundit Motilal Nehru had the five stanzas included, which are in praise of the King and Queen.

In the original Bengali verses only those provinces that were under British rule, i.e. Punjab, Sindh, Gujarat,Maratha .. etc. were mentioned. None of the princely states were recognized which are integral parts of India now - Kashmir,Rajasthan, Andhra, Mysore or Kerala. Neither the Indian Ocean nor the Arabian Sea were included, since they were directly under Portuguese rule at that time. The Jana Gana Mana Adhinayaka implies that King George V is the lord of the masses and Bharata Bhagya Vidhata is "the bestower of good fortune". Following is a translation of the five stanzas which glorify the King: 1st stanza (Indian) People wake up remembering your good name and ask for your blessings and they sing your glories. 2nd stanza Around your throne people of all religions come and give their love and anxiously wait to hear your kind words. 3rd stanza Praise to the King for being the charioteer, for leading the ancient travelers beyond misery. 4th stanza Drowned in the deep ignorance and suffering, poverty stricken, unconscious country waiting for the wink of your eye and your mother's (theQueen's) true protection. 5th stanza In your compassionate plans, the sleeping Bharat (India) will wake up. We bow down to your feet O' Queen, and glory to Rajeshwara (the King). This whole poem does not indicate any love for the Motherland but depicts a bleak picture of a servile people praying to their king. Why should a democratic country sing praises of "Bharat Bhagya Vidhata"? This is against the basic principles of democracy. Who is "Bharat Bhagya Vidhata"? Is it God? The poem does not indicate that.

Nehru chose the present national anthem as opposed to Vande Mataram because he thought that it would be easier for the band to play. It was an absurd reason but today for that matter bands have advanced and they can very well play any music. So they can as well play Vande Mataram, which is a far better composition in praise of our dear Motherland -India.

Some sections of the Muslim community are opposed to Vande Mataram as it is a prayer to Motherland and they consider it anti-Islamic. Because of the misconception of some factions of the Muslim community, our secularist leaders have never attempted to give Vande Mataram its true position - that of the National Anthem - for the fear of losing their most trusted vote bank.

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Romain Rolland (1866-1944) French Nobel laureate, professor of the history of music at the Sorbonne and thinker.

If there is one place on the face of the earth where all the dreams of living men have found a home from the very earliest days when man began the dream of existence, it is India....For more than 30 centuries, the tree of vision, with all its thousand branches and their millions of twigs, has sprung from this torrid land, the burning womb of the Gods. It renews itself tirelessly showing no signs of decay.

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AEROPLANES IN ANCIENT INDIA

The Rig Veda, the oldest document of the human race includes references to the following modes of transportation: Jalayan - a vehicle designed to operate in air and water (Rig Veda 6.58.3); Kaara- Kaara- Kaara- a vehicle that operates on ground and in water. (Rig Veda 9.14.1); Tritala- Tritala- Tritala- a vehicle consisting of three stories. (Rig Veda 3.14.1); Trichakra Ratha - Trichakra Ratha - Trichakra Ratha - a three-wheeled vehicle designed to operate in the air. (Rig Veda 4.36.1); Vaayu Ratha- Vaayu Ratha- Vaayu Ratha- a gas or wind-powered chariot. (Rig Veda 5.41.6); Vidyut Ratha- Vidyut Ratha- Vidyut Ratha- a vehicle that operates on power. (Rig Veda 3.14.1).

Ancient Sanskrit literature is full of descriptions of flying machines - Vimanas. From the many documents found it is evident that the scientist-sages Agastya and Bharadwaja had developed the lore of aircraft construction.

The "Agastya Samhita" gives us Agastya's descriptions of two types of aeroplanes. The first is a "chchatra" (umbrella or balloon) to be filled with hydrogen. The process of extracting hydrogen from water is described in elaborate detail and the use of electricity in achieving this is clearly stated. This was stated to be a primitive type of plane, useful only for escaping from a fort when the enemy had set fire to the jungle all around. Hence the name "Agniyana". The second type of aircraft mentioned is somewhat on the lines of the parachute. It could be opened and shut by operating chords. This aircraft has been described as "vimanadvigunam" i.e. of a lower order than the regular aeroplane.

Bhardwaja's "Vaimanika Shastra" not only gives information on his methods of aeroplane construction but also provides a bibliography. He had consulted six treatises by six different authors previous to him. After him too there have been four commentaries on his work. Planes which will not break (abhedya), or catch fire (adaahya) and which cannot be cut (achchedya) have also been described. Along with the treatise there are diagrams of three types of aeroplanes - "Sundara", "Shukana" and "Rukma".

It appears that aerial warfare was also not unknown, for the treatise gives the technique of "shatru vimana kampana kriya" and "shatru vimana nashana kriya" i.e. shaking and destroying enemy aircraft, as well as photographing enemy planes, rendering their occupants unconscious and making one's own plane invisible.

The Arthasastra of Kautilya (c. 3rd century B.C.) mentions amongst various tradesmen and technocrats the Saubhikas as 'pilots conducting vehicles in the sky'. Saubha was the name of the aerial flying city of King Harishchandra and the form 'Saubika' means 'one who flies or knows the art of flying an aerial city'. Kautilya uses another significant word 'Akasa Yodhinah', which has been translated as 'persons who are trained to fight from the sky.' The existence of aerial chariots, in whatever form it might be, was so well-known that it found a place among the royal edicts of the Emperor Asoka which were executed during his reign from 256 B.C. - 237 B. C.

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Sunday, August 20, 2006

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