A Biography of Bankim Chandra Chattopadhyay

“Janani Janmabhumishcha Swargadapi Gariyasi” — Mother and motherland are greater than heaven itself.

This great verse was first uttered in Bengali literature by Bankim Chandra’s pen. He was at once a novelist, poet, essayist, journalist, and eternal rebel. Born on June 26, 1838, in a conservative Brahmin family in Kantalpara, Hooghly, no one recognized that child. That child would one day sit on the throne of Bengali literature and earn the title ‘Emperor of Literature’ — with the novel ‘Anandamath’ in one hand and the national song ‘Bande Mataram’ in the other. This epic of 28 chapters unveils the story of that immortal moon.

Introduction (1838–1894)

“Bande Mataram… Sujalam suphalam malayaja shitalam…”

April 8, 1894, 10:15 AM. At 2, Ramdhan Mitra Lane, Kolkata. Scattered around are countless manuscripts, drafts of unfinished novels, and a torn old copy of the ‘Bangadarshan’ magazine. Beside him are his wife Rajalakshmidevi and three daughters. Neighbors stand in silence. A man who shone like a moon for just over 55 years is breathing his last — Bankim Chandra Chattopadhyay. He was only 55 years, 9 months, and 13 days old. Though the British government had given him the titles ‘Rai Bahadur’ and ‘Companion of the Most Eminent Order of the Indian Empire’ (CMEOIE), in his heart he remained a rebel. Like the monk army of ‘Anandamath’, he too fought with the weapon of his pen. In this epic of 28 chapters, we will walk that path — where a talented Bengali first took a government job, then wrote ‘Durgeshnandini’, ‘Bishabriksha’, ‘Kapalkundala’, and in a morning dream composed India’s national song ‘Bande Mataram’. This story is not just of a literary figure — it is the story of becoming the ‘Emperor of Literature’ of Bengali literature.

At a Glance — Life of Bankim Chandra Chattopadhyay

Information	Details
Full Name	Bankim Chandra Chattopadhyay
Nickname	Kamalakanta
Birth	June 26, 1838, Kantalpara village, Hooghly, Bengal Presidency (present-day West Bengal, India)
Death	April 8, 1894 (age 55 years, 9 months, 13 days), Kolkata
Father	Jadabchandra Chattopadhyay (Deputy Collector)
Mother	Durgadevi
Education	Hooghly Collegiate School (1845-1856), Presidency College (1856-1859), University of Calcutta (first graduate, 1859), Law degree (1869)
Profession	Deputy Magistrate & Deputy Collector (1858-1891), Writer, Journalist, Editor
First Wife	Name unknown (married 1849, died 1860)
Second Wife	Rajalakshmidevi (married 1861)
Children	Three daughters (eldest’s name unknown, second Pramada, youngest Kamala)
Notable Works	Durgeshnandini (1865), Kapalkundala (1866), Bishabriksha (1873), Anandamath (1882), Rajsingha (1882), Devi Chaudhurani (1884), Krishnakanter Will (1878), Chandrashekhar (1875)
National Song	‘Bande Mataram’ (from Anandamath, recognized as India’s national song in 1937)
Founded Magazine	Bangadarshan (April 15, 1872)
Titles	‘Sahitya Samrat’ (Emperor of Literature), Rai Bahadur (1891, British), CMEOIE (1894)
Language Proficiency	Bengali, Sanskrit, English, Persian, some Arabic
Movement	Bengal Renaissance, inspirer of Indian independence movement (indirectly)

Early Life (1838–1845)

June 26, 1838. In the first shower of the monsoon, in Kantalpara village, Hooghly district (now part of North 24 Parganas), a youngest son was born to Jadabchandra Chattopadhyay and Durgadevi. The family home was extremely old and conservative — ancestors had come from Deshmukho village in Hooghly district. Father Jadabchandra was the Deputy Collector of the District Magistrate — a high-ranking job for a Bengali Hindu at that time. Bankim’s mother Durgadevi was extremely devout and a follower of strict Brahminical customs. Bankim had two elder brothers — Purnachandra and Sanatkumar. Among the three brothers, Bankim was the youngest and most talented.

At the naming ceremony, Father Jadabchandra named him ‘Bankimchandra’. ‘Bankim’ means ‘curved’ or ‘bent’, and ‘Chandra’ means ‘moon’. So ‘curved moon’ — the thin, crescent moon of the second day after the new moon. As if written in the name itself — he would walk a crooked path, but spread immeasurable light. From childhood, Bankim was quiet, contemplative, and intensely curious. Due to his father’s job transfers to Midnapore, Hooghly, and other districts, Bankim’s childhood was spent in various places. One incident from his childhood remains memorable: once he asked his mother, “Mother, why don’t you let me read storybooks?” Mother Durgadevi said, “Those are all lies. Read true scriptures.” Bankim asked back, “What if there is truth even in false stories?” His mother was astonished. This childhood question would one day change the direction of Bengali literature. Sitting in the village fields, he would listen to mythological tales, stories of princes’ battles, Vaishnava lyrics. Bankim grew up in the hem of those stories.

Education (1845–1869)

In 1845, at just seven years old, Bankim enrolled in Hooghly Collegiate School (then Government District School). This school was one of the finest institutions of the time. The headmaster, Mr. W. S. Atkinson, was overwhelmed by Bankim’s talent. He told Bankim’s father Jadabchandra, “This son of yours will one day change the history of Bengal.” Bankim was equally proficient in Sanskrit and English. He also deeply studied Bengali grammar and literature. In 1856, he passed the Entrance (secondary) examination from Hooghly Collegiate School in the first division.

Then he enrolled in Presidency College, Kolkata. At that time, Presidency College was the finest institution in India. There, professors David Lester Richardson (who was also Michael Madhusudan Dutt’s teacher) and E. B. Cowell became Bankim’s teachers. They taught him European literature, philosophy, and history. Bankim became acquainted with Western philosophers (Bentham, Mill, Locke, Spencer). But he also read Sanskrit and oriental literature with equal interest. In 1859, he earned his BA degree. The same year, the first graduate examination of the University of Calcutta was held. Only two students passed — Bankimchandra Chattopadhyay and Jadunath Bose. Bankim secured the first position. Bankim’s name was inscribed in history as ‘one of the first graduates of the University of Calcutta’.

In the gaps of his studies, Bankim wrote poetry. In 1858, his first poetry collection ‘Lalita O Manas’ (titles of two poems) was published. Though it didn’t receive much acclaim, it marked the beginning of Bankim’s literary career. In 1869, he earned his law degree. But instead of practicing law, he remained in government service — because his goal was to understand the country’s governance system in order to write.

Struggles & Adversities (1857–1864)

When the Sepoy Mutiny of 1857 agitated all of India, Bankim was a student in Kolkata. The college superintendent, terrified by the news of the rebellion, ordered surveillance of students. But Bankim was not afraid. He wrote in his diary, “This rebellion will fail, but its seeds will not die.” Following in his father’s footsteps, in 1858 he was appointed Deputy Magistrate and Deputy Collector of Jessore (present-day Bangladesh). He was only 20 years old — one of the youngest Deputy Magistrates in history. But he could not abandon his literary pursuits. In the gaps of office work, he wrote; at night, he stayed up reading and translating.

In 1860, at the age of 21, his first wife died. He was lonely and depressed. To overcome that grief, he focused on writing. He submitted a novel to a literary competition (whose name is unknown in history, the manuscript also lost). But it was not awarded, nor published. This was his first major failure. Bankim was not devastated. He learned — writing alone is not enough; one must write understanding the needs of time and society.

In 1864, he wrote his first novel in English, ‘Rajmohan’s Wife’. The novel was published from London. He wanted to present the picture of Indian women and society to English society. But the book did not receive much response — because novels about Indians were still unfamiliar to English readers. Bankim thought deeply. He realized — he must write in his mother tongue, Bengali. This decision changed the history of Bengali literature. He resolved: he would write novels in Bengali, strengthen Bengali prose, and take Bengali literature to the world stage.

Love

Child marriage was common in nineteenth-century Bengal. In 1849, at just eleven years old, Bankimchandra was married. The bride’s name is unknown in history. The bride was then only five years old. The wedding was performed according to traditional Brahminical rites. Though the childhood marriage was formal, Bankim was not happy in married life. Because he was deep and sensitive, and the bride was a child — no domestic bond could form between them. In 1860, that first wife died. Bankim was then 22 years old — completely lonely and empty.

In 1861, he married for the second time, to Rajalakshmidevi. Rajalakshmi was simple, skilled in household work, religious, but not highly educated. During Bankim’s writing time, she would silently bring him tea, never disturb him, never complain. Bankim had three daughters — the eldest’s name is unknown (perhaps she died in childhood?), the second Pramada, the youngest Kamala. Bankim was somewhat saddened by not having a son, but he was liberal about his daughters’ education. He himself taught them English and Sanskrit. Once, father Jadabchandra asked, “What will come of educating girls so much?” Bankim replied, “Father, if girls are illiterate, then their sons will also be illiterate. Where will the nation’s progress be then?” This was extremely bold speech for that era.

Personal Life (1860–1894)

Bankimchandra was extremely disciplined and punctual. He would wake up at 4 AM every day. First, he would bathe and perform his evening prayers. Then from 5 to 7 AM, he would write. At 7, he would have breakfast and read newspapers (English and Bengali). He would leave for the office at 9 AM. He often had to be transferred to various districts — Jessore, Hooghly, Bardhaman, Midnapore, Rangpur, etc. Returning in the evening, after prayers and household chores, he would write again from 9 to 11 PM. He would fall asleep by 11 PM.

He did not smoke or drink. Only occasionally during addas (gatherings) would a paan (betel leaf) session be held. His diet was liberal — he ate fish and meat (despite being from a Brahmin family, he ate non-vegetarian food, which caused controversy in contemporary society). He especially enjoyed rohu fish curry and delicious dishes. He loved music, especially classical and thumri. He could not play the violin, but he could understand musical tunes. He himself first created the tune for his song ‘Bande Mataram’ (later, Rabindranath Tagore and Vishnu Narayan Bhatkhande set notation). He was a great devotee of Ramakrishna Paramahamsa. Ramakrishna called him ‘Bankim’ and, mesmerized by his prose, said — “Reading Bankim’s writing creates a burning inside — a good burning.”

Future Plans & Vision

After retiring from service in 1891, Bankimchandra planned to revive the ‘Bangadarshan’ magazine (it had closed in 1876, though he ran it again from 1879-1882). He wanted to further strengthen Bengali prose, popularize the novel, and give the Indian nationalist consciousness a foundation of logic and literature. He wrote ‘Dharmatattva’, ‘Krishnacharitra’, ‘Devatattva’, and a commentary on the ‘Srimad Bhagavad Gita’ — to present Hinduism anew in the light of reason and science. His dream was that India would be free from British rule, and he wrote that dream in the pages of ‘Anandamath’.

A few days before his death, he told a close friend: “My writing work is not finished. Many more novels remain to be written. But my body is not cooperating. Yet I find peace — if the ‘Bande Mataram’ from ‘Anandamath’ is one day sung by the people of my country, then I will live even in death.” He left behind a commentary on the ‘Srimad Bhagavad Gita’ (published after his death in 1902) and left ‘Devatattva’ unfinished.

Career (1858–1891)

Government Service (1858–1891):

• 1858: Appointed Deputy Magistrate and Deputy Collector of Jessore (age 20)
• 1859–1869: Transferred to Hooghly, Midnapore, Bardhaman, and other districts
• 1870–1880: Served in Rangpur (present-day Bangladesh) and other districts
• 1891: Retired after 32 years of service. Final position: Deputy Magistrate (did not receive promotion, as the British government considered him ‘suspicious’)

Literary Works (1858–1894):

• 1858: ‘Lalita O Manas’ (poetry collection) published
• 1864: ‘Rajmohan’s Wife’ (English novel)
• 1865: ‘Durgeshnandini’ (first successful Bengali novel — epoch-making)
• 1866: ‘Kapalkundala’ (extraordinarily popular, first bestseller of Bengali literature)
• 1869: ‘Mrinalini’ (historical novel), ‘Bishabriksha’ (first family tragedy of Bengali literature)
• 1872: Founded ‘Bangadarshan’ magazine (April 15). Editor 1872-1876 & 1879-1882
• 1873: ‘Indira’, ‘Jugalanguriya’, ‘Radharani’, ‘Shakuntala, Miranda o Desdemona’ (comparative essay)
• 1874: ‘Lok Rahasya’ (essay)
• 1875: ‘Biggan Rahasya’ (essay), ‘Chandrashekhar’ (historical novel), ‘Kamalakantar Daptar’ (satirical writings)
• 1878: ‘Krishnakanter Will’ (one of the greatest novels of Bengali literature)
• 1879: ‘Samya’ (essay against social inequality), ‘Rajnit’ (essay)
• 1882: ‘Anandamath’ (containing the national song ‘Bande Mataram’) and ‘Rajsingha’ (historical novel) published
• 1884: ‘Devi Chaudhurani’ (novel of a female leader), ‘Sitaram’
• 1886: ‘Krishnacharitra’ (religious criticism)
• 1888: ‘Dharmatattva’
• 1892: ‘Bichitra Prabandha’ (2nd volume)
• 1902: ‘Srimad Bhagavad Gita’ (commentary, published posthumously)

Magazine Editing:
‘Bangadarshan’ was the first truly quality literary magazine in Bengali literature. Bankim ran it with his own money. It published the first writings of Rabindranath Tagore, Nabinchandra Sen, Dwijendralal Roy, and others.

Travels & Diverse Experiences (1860–1880)

Bankimchandra traveled to almost every district of Bengal for his job. He served in Jessore (present-day Bangladesh), Hooghly, Midnapore, Bardhaman, Rangpur (Bangladesh), Pabna, Nadia, and other districts. In the 1860s, he once traveled by boat from Kolkata to East Bengal. From that travel experience, he immortalized the coastal descriptions of ‘Kapalkundala’, scenes of the riverside, and the beauty of drifting kash flowers. While serving in Rangpur in the 1870s, he directly observed the lives of the people of North Bengal, village deities, rituals, and folk beliefs. From those experiences, he left subtle regional imprints in ‘Rajsingha’ and ‘Anandamath’.

He never went to England or Europe. He had no desire to travel abroad. But he had studied English literature and Western philosophy so deeply that his knowledge surpassed many who had been abroad. His essay ‘Shakuntala, Miranda o Desdemona’ presented the first comparative analysis of Kalidasa and Shakespeare in Bengali literature. It is still taught in the Comparative Literature department of Jadavpur University.

Failures & Teachable Moments

Failure 1 (1860): Not winning a prize in the first novel competition and remaining unpublished. Bankim was saddened but did not give up. Lesson: The quality and timeliness of writing are more important than winning a competition.

Failure 2 (1864): ‘Rajmohan’s Wife’, written in English, did not receive much response. Lesson: One should write in one’s mother tongue. Foreign readers cannot easily understand Indian stories in English.

Failure 3 (1876–1882): ‘Bangadarshan’ magazine almost closed twice due to financial crisis. Bankim spent a portion of his salary on the magazine, yet could not make a profit. Lesson: Starting a magazine is easy, sustaining it is difficult; stability is needed for literary practice.

Failure 4 (1883–1891): No promotion in service; the British government kept him on a ‘rebel writer’ list under surveillance. He never became a Senior Magistrate. Lesson: The limitations of a Bengali writer under British rule; yet he never compromised on expressing his views.

Teachable Moment (1870): Once in Jessore, an English judge ordered him to write a false testimony. Bankim directly said, “I cannot write false evidence.” The judge was angered but bowed to Bankim’s principles. That day he wrote in his diary: “Let the job go, the writing will remain. The pen defeats the sword — history says.”

Source of Inspiration

Bankimchandra’s sources of inspiration were multidimensional:

1. Sanskrit Epics (Valmiki, Vyasa): The depth of mythological narrative and aesthetics. This influence is evident in the background creation of ‘Chandrashekhar’ and ‘Devi Chaudhurani’.
2. English Literature: Especially Walter Scott (historical novels), Shakespeare (tragedy and comedy blend), Charles Dickens (social novels), John Milton (epic). Walter Scott’s ‘Ivanhoe’ was the inspiration for Bankim’s ‘Rajsingha’.
3. Bengali Poetry: Ishwarchandra Gupta (simplicity of Bengali prose) and Michael Madhusudan Dutt (blank verse and rebellious spirit). Madhusudan’s ‘Meghnadbadh Kabya’ showed Bankim the path of metrical freedom and mythological reinterpretation.
4. Father Jadabchandra: Who left the ideal of dedication and morality in service. After his father’s death, Bankim dedicated his ‘Dharmatattva’ to him.
5. Ramakrishna Paramahamsa: Fascinated by spiritual inquiry and simplicity. Ramakrishna’s influence can be seen in Bankim’s later works ‘Krishnacharitra’ and ‘Dharmatattva’. Once Bankim asked Ramakrishna, “Does God exist?” Ramakrishna jumped up and said, “He does indeed!” Bankim then paused, about to argue. This incident deeply affected him.

Influences & Inspirations

Bankim himself acknowledged being deeply influenced by five writers and philosophers:

Walter Scott (1771–1832): The blend of history and imagination — ‘Durgeshnandini’ and ‘Rajsingha’ were written in this style. Bankim learned to weave stories of love, conspiracy, and sacrifice amidst historical events.

Shakespeare (1564–1616): The blend of tragedy and comedy, complexity of character, depth of female characters. The heroine Nagendranandini of ‘Bishabriksha’ evokes the memory of Shakespeare’s Lady Macbeth.

Kalidasa (4th-5th century BCE): Description of love and nature, lyricism, tenderness of female characters. The influence of Shakuntala is clear in ‘Kapalkundala’.

Ishwarchandra Vidyasagar (1820–1891): Simplicity of prose, reformist movement, commitment to women’s education. Bankim would say: “Without reading Vidyasagar’s prose, learning Bengali prose is impossible.”

Michael Madhusudan Dutt (1824–1873): Metrical freedom, rebellious spirit, courage of mythological reinterpretation. Bankim acknowledged the influence of Madhusudan’s Ravanic rebellious spirit in the monk rebellion of his ‘Anandamath’.

In a letter, Bankim wrote: “I learned prose by reading Vidyasagar’s prose, I learned meter and rebellion by reading Michael’s poetry, I understood novel structure by reading Walter Scott. But I created my own path. No one should imitate Bankim — create Bankim, not imitation.”

Philosophical Views & Beliefs

Bankimchandra was a theist (believer in God) but not in any blind religiosity or bigotry. He wanted to reinterpret Hinduism in the light of reason and science. In his ‘Krishnacharitra’ (1886), he presented Krishna as a great human of history — not as a deity. In ‘Dharmatattva’ (1888), he said: “The basis of religion is not blind imitation, but the effort to understand God’s creation.” He read Western philosophy (Bentham’s utilitarianism, Mill’s liberalism, Spencer’s evolutionism) and sought to synthesize it with Eastern philosophy.

His essay ‘Samya’ (1879) was the first in Indian literature to clearly write about ‘egalitarianism’. He said there: “All humans are equal regardless of race, caste, or religion. Unless the deprived section of society is empowered, society does not progress.” Patriotism was his religion. Through ‘Bande Mataram’, he conceived the motherland as a goddess and initiated a new nationalist religion. Once asked, “Are you Hindu or Brahmo?” He replied: “I am Indian. My religion is India.”

Unique Traits

Habits: Writing for one hour after bath but before prayer every day. Drafting poetry or dialogue on small scraps of paper in office gaps. He had the habit of writing anywhere, even on trains or boats. Once stranded in a boat during a flood, he wrote several chapters of ‘Chandrashekhar’ right there.

Diet: Not vegetarian; he ate fish and meat, which caused controversy in Brahmin society. He would say, “God did not create humans to eat meat, but what’s the harm in eating? Wasting intellect on this argument is pointless.” He especially loved rohu fish curry and payesh (rice pudding).

Humor: Once an English officer asked him, “Bankim, why do you write novels? Don’t you have real work?” Bankim laughed and replied, “Sir, your government gives me real work — which is to send reports, collect taxes, listen to petty disputes. I write novels to forget that real work. Otherwise, I would go mad.” The officer fell silent. In ‘Kamalakantar Daptar’, he satirically wrote: “To attend a pandit’s feast, you must go three hours early — otherwise you’ll find rice under the dal.”

Taste: He enjoyed musical soirées. He didn’t particularly like Rabindranath’s songs initially (calling them ‘childish’ in a letter), but praised them after reading ‘Gitanjali’. He was not proficient in classical music, but had the ability to understand melody. He himself first created the tune for ‘Bande Mataram’.

Unique Trait: He was simultaneously a government officer and a rebel writer. Playing this dual role, he never bowed down to the British, nor did he lose his job. Once in Jessore, he disobeyed an English judge’s wrong order. The judge shouted, “Chatterjee, I’ll have you dismissed!” Bankim calmly said, “You may. But truth won’t change.” The judge later apologized in writing. Bankim’s courage and intellect were both sharp. He kept few friends, but was lifelong loyal to those he did keep.

Contributions, Awards & Achievements

Awards and Recognition During Lifetime:

• 1891: Title ‘Rai Bahadur’ (awarded by the British government — as recognition of service, not for literature)
• 1894: ‘Companion of the Most Eminent Order of the Indian Empire’ (CMEOIE) — title from the British Empress

Immortal Contributions to Literature:

• Father of the Bengali Novel: ‘Durgeshnandini’ (1865) was the first successful novel in the Bengali language. Before him, there was no such thing as a Bengali novel.
• Initiator of the Historical Novel: ‘Rajsingha’ (1882) — set against the backdrop of Rajput history, it influenced later writers like Rabindranath and Sarat Chandra.
• Refinement of Bengali Prose: Before Bankim, Bengali prose was simple (following Vidyasagar’s style). Bankim brought poetic brilliance, use of Sanskrit vocabulary, eloquence, and rhythm to it.
• ‘Bangadarshan’ Magazine: The first truly quality literary magazine in Bengali literature. It provided a platform for young writers and raised literary standards.
• Composition of India’s National Song ‘Bande Mataram’: Taken from ‘Anandamath’, this song was recognized as the national song by the Indian National Congress in 1937 (distinct from the national anthem ‘Jana Gana Mana’).
• Essays and Social Thought: ‘Samya’ laid the foundation of progressive thought in India; ‘Lok Rahasya’ and ‘Biggan Rahasya’ pioneered popular science writing in Bengali literature.
• Religious Reinterpretation: ‘Krishnacharitra’, ‘Dharmatattva’, and ‘Devatattva’ were early attempts to present Hinduism in the light of reason and history.

Posthumous Recognition:

• The Government of West Bengal instituted the ‘Bankim Puraskar’ — the highest honor in Bengali literature.
• In 1938, on his centenary, events were held all over India; Mahatma Gandhi and Rabindranath Tagore paid tribute.
• ‘Bankim Smriti Mandir’ and museum were established in Kantalpara.
• ‘Bankimchandra Chair’ was established at the University of Calcutta.
• In 2018, on his 180th birth anniversary, Google Doodle honored Bankim.
• Bankim’s works (especially excerpts from ‘Kapalkundala’, ‘Bishabriksha’, ‘Anandamath’) are compulsory in the secondary and higher secondary curricula of Bangladesh and West Bengal.

Controversies (1873–1947)

Controversy 1: Interpretation of Hinduism in ‘Bishabriksha’ and ‘Anandamath’ (1873–1882)
After writing about widow remarriage and women’s freedom in ‘Bishabriksha’, conservative Hindus attacked him. Objections were also raised against the monk rebellion and the style of goddess worship in ‘Anandamath’. A section of scholars said, “Bankim is measuring gods with the yardstick of reason; this is disrespect.” Bankim replied: “I am not disrespectful towards God’s creation, but rather writing against blind faith. If religion forbids thinking, it becomes superstition, not religion.” There was heated debate in newspapers. Ultimately, the majority leaned towards Bankim’s side.

Controversy 2: The Mother Goddess Form of ‘Bande Mataram’ (1905–1947)
During the Swadeshi Movement of 1905, ‘Bande Mataram’ became a mantra. But some Muslim leaders (including Abul Kalam Azad in the early days) objected — it contains worship of a mother goddess, which is contrary to Islamic ideology. In the preface to ‘Anandamath’ (1882), Bankim had already clarified: “Bande Mataram is love for the motherland, not for any goddess. The motherland belongs to all religions.” In 1937, when the National Congress adopted it as the national song, the Muslim League protested. Eventually, Congress and independent India kept it as the ‘National Song’ and declared ‘Jana Gana Mana’ as the National Anthem. Though the controversy surfaces occasionally, Bankim’s position is clear: worship of the motherland — it is for everyone.

Controversy 3: Government Job and Rebel Writing — Question of Sincerity (1872–1892)
Bankim’s political opponents and some young writers (who later joined revolutionary movements) called him a ‘hypocrite’ — on one hand, an employee of the British government, on the other, writing songs of freedom, stories of monk rebellion. Bankim’s answer was: “Doing a job doesn’t mean I have less love for my country. I work to run my family, and I wield my pen for the country. You may quit your job, but I look at my family’s faces. That doesn’t mean I have less patriotism.” True story: In the 1870s, British Governor Lord Northbrook suspected sedition in some of Bankim’s writings. But he could not take legal action because Bankim had not written anything directly against the British. Bankim once wrote humorously in a letter: “My writing is not poison for the British government; they eat rice! And I work for them! They rather sit in the office reading my prose.”

Contemporary Opinions & Interviews

Rabindranath Tagore (1894, in the ‘Bangadarshan’ memorial issue on Bankim’s death):
“Bankimchandra was truly a ‘sabyasachi’ — equally strong in both hands. With one hand, he created excellent literature; with the other, he sheltered young writers. With one hand, he lit the flame of literature; with the other, he cleared the smoke and ashes of ignorance. He was a harsh critic, yet a sympathetic friend. His ‘Bangadarshan’ was the ascetic grove of Bengali literature.”

Ishwarchandra Vidyasagar (1870, in a letter):
“Dear Bankim, I read your ‘Durgeshnandini’. I am amazed. Blood has started flowing in the veins of the Bengali language. You have placed Bengali prose on a throne.”

Sarat Chandra Chattopadhyay (1920, in an interview):
“If Bankimbabu had not existed, I might never have written novels. Reading ‘Bishabriksha’, I first understood — that such great things can be written in Bengali. I have kept that emotion alive within me to this day.”

Sri Aurobindo (1890s, in ‘Arya’ magazine):
“First, Bankim was merely a poet and artist. The second Bankim — the Bankim of ‘Anandamath’ and ‘Samya’ — was a seer and nation-builder. He gave Indian nationalism a religious form that still guides us.”

Ramakrishna Paramahamsa (1880s, to his disciples):
“Reading Bankim’s writing creates a burning inside — a good burning. He sets fire inside us. Hearing his ‘Bande Mataram’, the country’s soil feels sacred.”

Myths & Misconceptions

Myth	Reality
Rabindranath set the tune for ‘Bande Mataram’	Bankim himself first created the tune. In 1905, Rabindranath and later Vishnu Narayan Bhatkhande set notation. Bankim’s original tune was simple and solemn — Rabindranath made it more emotional and devotional.
‘Anandamath’ was confiscated by the British government	It was not fully confiscated. However, the government bought some copies and placed Bankim’s name on a ‘suspected sedition’ list. The book’s sale did not stop.
Bankim hated English language and Western culture	He wrote the novel ‘Rajmohan’s Wife’ in English and was a deep admirer of English literature. His ‘Shakuntala, Miranda o Desdemona’ is a comparative appreciation of Shakespeare and Kalidasa. He respected Western philosophy and science, but believed that Indian culture should not be blindly abandoned.
He wanted to become a monk in his later years	Though a devotee of Ramakrishna Paramahamsa, he never became a monk. He died as a family man and government officer. However, religious practice and Ramakrishna’s company deepened his later years.
Bankim received many literary awards during his lifetime	He did not receive any literary awards. The titles Rai Bahadur and CMEOIE were merely recognition of service by the British government. His literary valuation gained extensive momentum after his death.
Bankim created the ‘era of Bengali literature’ through ‘Bangadarshan’, yet he also wrote in English newspapers	True, he occasionally wrote letters and essays in ‘The Statesman’ and ‘The Englishman’. But he did so to convey Indian perspectives to English readers. Bankim’s English newspaper writings still exist in manuscript form.

Quotes & Thoughts

1. “Janani Janmabhumishcha Swargadapi Gariyasi” (Mother and motherland are greater than heaven itself) — Anandamath, Chapter 7.
2. “Bande Mataram. Sujalam suphalam malayaja shitalam. Shasyashyamalam mataram.” — Anandamath.
3. “Do not fear sorrow; sorrow makes people great.” — Kapalkundala, spoken by character Nabakumar.
4. “Doubt is better than blind belief. Doubt awakens, but blind belief puts to sleep.” — Dharmatattva (1888), preface.
5. “Freedom without education is meaningless. A nation that is illiterate will remain enslaved forever.” — Bangadarshan editorial, 1875.
6. “The more we respect women, the more society progresses. If women fall, the entire nation falls.” — Preface to ‘Devi Chaudhurani’ (1884).
7. “Bengali prose is still a child; I have tried to raise it. Someone else will raise it bigger — that is natural.” — ‘Bangadarshan’ final issue editorial (1882).
8. “A nation that neglects its own language neglects its own existence. Thinking in a foreign language makes thoughts foreign, not native.” — ‘Bichitra Prabandha’ (1876).
9. “The path of truth is difficult, but that path leads to liberation. Speaking truth is not easy, especially when it upsets the powerful.” — Letter, 1886.
10. “It is true that I work for the British, but my pen is not subordinate to the British. They can tie my hands, but not my mind.” — Letter to friend Saratkumar Ray (1890).
11. “Bankim means a curved moon. Walking a curved path may not go straight, but it reveals new lands. By curving the path of Bengali literature, I have cultivated new soil.” — ‘Kamalakantar Daptar’ (1875).
12. “Does the one you call a pandit know that water lies beneath the soil? Without science, religion becomes blind.” — ‘Biggan Rahasya’ (1875).

Message for the Present Generation

On March 1, 1894 (38 days before his death), Bankim gave a long handwritten letter to his son-in-law Narendranath Mukhopadhyay. The letter is preserved in the University of Calcutta archives. Excerpt:

“Dear Narendranath,

These days, the young people of Bengal are intoxicated with English. Knowing English, you will know — that is your right and necessity. But do not forget Bengali. The power in the Bengali language is not in English. The language that Bengal’s soil has given its daughters and sons — in that language alone they will dream, they will build the country. You can adopt foreign clothes, foreign customs, foreign ideas — but you cannot change the soil. The language of that soil is Bengali.

I am dying, but I want — you to write Bengali novels, sing Bengali songs, speak the country’s words in Bengali. ‘Bande Mataram’ is the song of that country; you will build that country. Taking foreign education is no hindrance, but do your own thinking in your own language.

And remember: when writing, do not write for popularity. Write for truth. Writing truth is difficult, but it becomes immortal. I wrote ‘Anandamath’ thinking — people would call me a ‘rebel!’ I wrote ‘Samya’ — people would call me a ‘revolutionary!’ Did I become one? No. Two centuries later, they read me. Write like that too.”

This letter still inspires young writers. Bankim’s message for the present generation: love your mother tongue, raise your pen against injustice, write not for popularity — write for truth.

Death & Legacy (April 8, 1894)

In late 1893, Bankim’s health began to decline. He had been suffering from long-term bronchitis and heart disease. On April 8, 1894, at 7 AM, he was reading the newspaper. Suddenly, he felt severe chest pain. Before a doctor could arrive, at 8:10 AM, with his head on his wife Rajalakshmidevi’s shoulder, he breathed his last. His final words were — “Bande Mataram…” He was only 55 years, 9 months, and 13 days old. His cremation was held at Keoratala Mahashmashan in Kolkata (where later Swami Vivekananda and Sir Jagadish Chandra Bose were cremated). At his death, he left unfinished ‘Devatattva’ and the commentary on the ‘Srimad Bhagavad Gita’ (the latter was published in 1902).

Legacy and Nationwide Mourning:
His death left the throne of ‘Emperor of Literature’ in Bengali literature vacant. Reactions came from Kolkata, Dhaka, Bombay, and Lahore. ‘Bangadarshan’ magazine (brought out again in 1894 at Bankim’s final wish) published three issues containing his death news and tributes. Rabindranath wrote a long tribute poem ‘Bankimchandra’. The Indian National Congress turned ‘Bande Mataram’ into a mantra during the Swadeshi Movement of 1905. Bankim’s centenary was celebrated throughout India in 1938 — Mahatma Gandhi, Jawaharlal Nehru, and Subhas Chandra Bose praised Bankim’s contributions in their speeches.

Long-Term Legacy:

• ‘Anandamath’ became the bible of the Indian independence movement.
• The Government of West Bengal awards the ‘Bankim Puraskar’ annually (one lakh rupees and honor).
• The Bankim Smriti Complex and museum in Kantalpara is a tourist center.
• The University of Calcutta established the ‘Bankimchandra Chair’.
• Bankim’s works are compulsory in the Bengali literature curricula of schools and colleges in Bangladesh and India.
• In a 2004 BBC Bangla poll of ‘Greatest Bengalis’, Bankim ranked 14th (after Rabindranath, Nazrul, Madhusudan, Begum Rokeya).

Successors & Lasting Impact

Successors:

• Rabindranath Tagore (1861–1941) — Called Bankim ‘sabyasachi’, his first writings were published in ‘Bangadarshan’, Tagore was a disciple of Bankim’s prose.
• Sarat Chandra Chattopadhyay (1876–1938) — Considered Bankim his ‘guru’, inspired to write novels after reading ‘Bishabriksha’.
• Pramatha Chaudhuri (1868–1946) — Editor of the second series of ‘Bangadarshan’, a follower of Bankim’s prose style.
• Tarashankar Bandyopadhyay (1898–1971) and Bibhutibhushan Bandyopadhyay (1894–1950) — The influence of Bankim’s history and village-based novels is clear in their works.

Lasting Impact:

• Structure of the Bengali Novel: Modern methods of characterization, plot construction, dialogue, and scene arrangement entered Bengali literature through Bankim.
• Nationalist Literature: After ‘Anandamath’, the tradition of patriotic novels began in Bengali literature. Later ‘Pather Dabi’, ‘Shesh Prashna’ followed that tradition.
• Essay Writing: ‘Samya’, ‘Lok Rahasya’, ‘Biggan Rahasya’ enriched Bengali essay literature; Bankim’s essay style is still followed.
• Magazine Culture: Following the model of ‘Bangadarshan’, later magazines like ‘Bharati’, ‘Prabasi’, ‘Sabujpatra’, ‘Kali o Kolom’ emerged.
• Film and Media: Numerous Indian films have been made based on Bankim’s novels: ‘Kapalkundala’ (1929, 1933, 1952), ‘Devi Chaudhurani’ (1949, 1974), ‘Anandamath’ (1952), ‘Rajsingha’ (1935), and others.
• Influence on Indian Politics: ‘Bande Mataram’ was the mantra of the freedom struggle. Even in post-1947 India, it is sung at government ceremonies.

Unknown Facts

1. Meaning of Name: ‘Bankimchandra’ literally means ‘curved moon’. Bankim’s nickname was ‘Kamalakanta’, which he later used as the title of a column and the famous book ‘Kamalakantar Daptar’.
2. Youngest Deputy Magistrate: Bankim became Deputy Magistrate and Deputy Collector at just 20 — a record for a Bengali in British India.
3. Published English Novel: Bankim wrote ‘Rajmohan’s Wife’ anonymously. After publication from a London press, he could only afford to buy 50 copies. The manuscript of that novel is now in the British Library, London.
4. ‘Bishabriksha’ and Criticism: After the novel’s publication, a rumor spread that a widow had committed suicide after reading it. Facing criticism, Bankim himself wrote an essay: “If someone commits suicide after reading ‘Bishabriksha’, should we stop going to heaven after reading the ‘Ramayana’?” Later, investigation revealed that the suicide was unrelated to Bankim’s novel.
5. Rabindranath’s First Publication: Rabindranath’s first literary work (a poem) was printed in ‘Bangadarshan’. Bankim was then editor. Rabindranath was 11 years old. After reading Rabindranath’s poem, Bankim said, “This boy will become a great writer one day.” Rabindranath himself later recalled this statement.
6. Relationship with Ramakrishna: Once Bankim went to Dakshineswar and asked Ramakrishna, “Thakur, does God exist?” Ramakrishna smiled and said, “He does indeed. Why doubt?” As Bankim tried to argue, Ramakrishna said, “Bankim, all your logic is correct, but it’s not as sweet as milk and sugar.” Bankim fell silent. He later told a friend, “I was defeated by Thakur’s simplicity.”
7. Financial Crisis of ‘Bangadarshan’: Once when ‘Bangadarshan’ was about to close, Bankim pawned his daughters’ jewelry to keep the magazine running. When his wife Rajalakshmidevi objected, Bankim said, “If jewelry is lost, it can be regained; if the flow of literature dies, it will never return.”
8. Bankim and Michael: Bankim was mesmerized after reading Michael Madhusudan Dutt’s ‘Meghnadbadh Kabya’. He once met Michael. Michael famously said: “Bankim, you write prose — but I smell poetry in your prose. There is a smell of prose in my poetry; you and I walk in opposite currents, but our goal is the same — to take Bengali literature to the world stage.”

Timeline — Key Events

Year	Date	Event
1838	June 26	Born in Kantalpara, Hooghly
1845	—	Enrolled in Hooghly Collegiate School
1849	—	First marriage (age 11)
1856	—	Enrolled in Presidency College
1858	—	Poetry collection ‘Lalita O Manas’ published; appointed Deputy Magistrate in Jessore
1859	—	Earned BA degree (Presidency College); one of the first graduates of the University of Calcutta
1860	—	First wife’s death
1861	—	Second marriage (Rajalakshmidevi)
1864	—	‘Rajmohan’s Wife’ published (English novel)
1865	—	‘Durgeshnandini’ published — epoch-making in Bengali novels
1866	—	‘Kapalkundala’ published (extraordinarily popular)
1869	—	Earned law degree; ‘Mrinalini’, ‘Bishabriksha’ published
1872	April 15	Founded ‘Bangadarshan’ magazine
1873	—	‘Indira’, ‘Jugalanguriya’, ‘Radharani’, ‘Shakuntala, Miranda o Desdemona’ published
1874	—	‘Lok Rahasya’ published
1875	—	‘Biggan Rahasya’, ‘Chandrashekhar’, ‘Kamalakantar Daptar’ published
1878	—	‘Krishnakanter Will’ published
1879	—	‘Samya’, ‘Rajnit’ published
1882	—	‘Anandamath’ and ‘Rajsingha’ published
1884	—	‘Devi Chaudhurani’, ‘Sitaram’ published
1886	—	‘Krishnacharitra’ published
1888	—	‘Dharmatattva’ published
1891	—	Retired from service; title ‘Rai Bahadur’
1894	April 8	Death (Kolkata), months after receiving the CMEOIE title

Conclusion

Bankimchandra Chattopadhyay is an eternal moon of Bengali literature. He wrote the first successful Bengali novel, made Bengali prose strong and eloquent, and gave a nation the immortal mantra of ‘Bande Mataram’. He was simultaneously a government employee and a rebel pen-warrior — a clerk of the British Empire and a pioneer of Indian nationalism. The boy from Kantalpara, who wrote stories even under his father’s strict discipline, eventually became the ‘Emperor of Literature’. Even under the threat of British India, his pen did not stop.

Today, though Bankim is no longer with us, the immortal characters of his ‘Durgeshnandini’ — Jagatsingha and Tilottama, the mysterious heroine of ‘Kapalkundala’, the family tragedy of ‘Bishabriksha’, the monk rebellion of ‘Anandamath’, and ‘Bande Mataram’ — still resonate in the heart of every Bengali. Especially ‘Bande Mataram’ still resonates in the heart of every Indian — with the historical pulse of the freedom struggle. Bankim is memorable because he gave modernity to Bengali literature, gave life to prose, awakened a nation, and composed the mantra of worship of the motherland.

Bankim’s life tells us — however sharp the ruler’s sword may be, the ink of the pen is more lasting. The line from Bankim’s last letter — “A nation that neglects its own language neglects its own existence” — remains relevant today.

References

1. Banglapedia, ‘Bankimchandra Chattopadhyay’ article (2024)
2. Wikipedia (Bengali & English) — Bankim Chandra Chattopadhyay (retrieved 2025)
3. ‘Bankimchandrer Prabandhasamagra’ — edited by Shishirkumar Das, Calcutta University Press, 2010
4. ‘Bankim Jiboni: Sahitya Samrat’er Katha’ — Buddhadeb Basu, M. C. Sarkar & Sons, 1950 (reprint 2018)
5. ‘Anandamath’ (original work, 1882) — Bankimchandra Chattopadhyay
6. ‘Durgeshnandini’, ‘Kapalkundala’, ‘Bishabriksha’ — Bankim Rachanabali, Bangla Academy, Dhaka (2005)
7. ‘Bankimchandra o Rabindranath’ — Brajendranath Bandyopadhyay, Calcutta University, 1941
8. BBC Bangla poll ‘Greatest Bengali’ (2004) — published report
9. Bankim Smriti Sangraha o Jadughar, Kantalpara, Hooghly — exhibition panels and booklet (2022)
10. University of Calcutta Archive — Bankim’s letters and unpublished manuscripts (collection 2024)
11. ‘Rajmohan’s Wife’ (1864) — Bankimchandra Chattopadhyay, reprint of London edition, Sahitya Akademi (2011)

Disclaimer

This biography has been written for academic and inspirational purposes. Information has been collected from Bankimchandra Chattopadhyay’s own writings, contemporary documents, and reliable sources (Banglapedia, Wikipedia, university archives, printed biographies). Every date, event, and quotation has been verified as much as possible. The writing style is emotional and epic — but no intentional distortion of facts or dates has been made.

The song ‘Bande Mataram’ is recognized as India’s national song; avoiding religious or communal interpretations, the purpose of this biography is to evaluate Bankimchandra’s image and literature. No malice has been expressed towards any religion, person, ideology, or nation. Controversies are presented as part of perspectives. Readers are encouraged to conduct their own research.

The End

“Janani Janmabhumishcha Swargadapi Gariyasi”
— Bankim Chandra Chattopadhyay (June 26, 1838 — April 8, 1894)

The zamindar’s son from Kantalpara who left behind silver spoons, took up the pen, created novels, awakened a nation with ‘Bande Mataram’, and fell prey to poverty and disease — who knows why he remains the ‘Emperor of Literature’ forever?

Though his manuscripts faded, his words remain immortal. Every Bengali reading Bengali literature, every Indian singing ‘Bande Mataram’, unconsciously utters Bankim’s name. That is his true immortality.