Yojana Magazine August 2022 - 1 | Monthly Yojana & Kurukshetra Magazine (English) - UPSC PDF Download

 Page 1


Lead
Partition Literature 
Manan Kumar Mandal
SPeCIaL 
Literature defying the Raj 
Chaman Lal
FoCuS
Freedom Songs from the Northeast 
Dr Samudra Gupta Kashyap
Kazi Nazrul Islam: a Y outhful Rebellion 
Dr Anuradha Roy
SPeCIaL ISSue
a uguSt 2022 a deveL oP meNt moNthLY
ISSN-0971-8400
Page 2


Lead
Partition Literature 
Manan Kumar Mandal
SPeCIaL 
Literature defying the Raj 
Chaman Lal
FoCuS
Freedom Songs from the Northeast 
Dr Samudra Gupta Kashyap
Kazi Nazrul Islam: a Y outhful Rebellion 
Dr Anuradha Roy
SPeCIaL ISSue
a uguSt 2022 a deveL oP meNt moNthLY
ISSN-0971-8400
do You KNow?
Salient Features of Flag Code of India, 2002
‘Har Ghar Tiranga’
T
he Indian National Flag 
represents the hopes and 
aspirations of the people of India. It 
is the symbol of our national pride 
and there is universal affection 
and respect for, and loyalty to, the 
National Flag. It occupies a unique 
and special place in the emotions 
and psyche of the people of India. 
The hoisting/use display of the 
India National Flag is governed 
by the Prevention of Insults to 
National Honour Act, 1971 and 
the Flag Code of India, 2002. Flag 
Code of India has been divided 
into three parts. Part I of the Code 
contains general description of 
the National Flag. Part II of the Code is devoted to the 
display of the National Flag by members of public, private 
organisations, educational institutions, etc. And Part III 
relates to display of the National Flag by Central and State 
governments and their organisations and agencies. Some 
of the salient features of the Flag Code of India 2002 are:
a. The Flag Code of India, 2002, was amended vide 
Order dated 30 December 2021, and National Flag 
made of polyester or machine-made Flag had been 
allowed. Now, the National Flag shall be made of 
hand-spun and hand-woven or machine-made, cotton, 
polyester, wool, silk, khadi bunting.
b. A member of public, a private organisation or an 
educational institution may hoist/display the National 
Flag on all days and occasions, ceremonial or 
otherwise, consistent with the dignity and honour of 
the National Flag.
c. The National Flag shall be rectangular in shape. The 
Flag can be of any size but the ratio of the length 
to the height (width) of the Flag shall be 3:2. The 
National Flag shall be a tri-colour panel made up of 
T
he Indian National Flag is a symbol of national pride for the entire nation. Under the Azadi Ka Amrit Mahotsav, to 
further honour our Flag, ‘Har Ghar Tiranga’ envisages inspiring Indians everywhere to hoist the National Flag at 
their homes.
Our relationship with the Flag has always been more formal and institutional than personal. Bringing the Flag 
home collectively as a nation in the 75
th
 year of independence thus becomes symbolic of not only an act of personal 
connection to the Tiranga, but also an embodiment of our commitment to nation-building. The idea behind the initiative 
is to invoke the feeling of patriotism in the hearts of the people and promote awareness about our National Flag.
three rectangular panels or sub-
panels of equal widths. The 
colour of the top panel shall 
be India saffron (Kesari) and 
that of the bottom panel shall 
be India green. The middle 
panel shall be white, bearing at 
its centre the design of Ashoka 
Chakra in navy blue colour with 
24 equally spaced spokes. The 
Ashoka Chakra shall preferably 
be screen printed or otherwise 
printed or stenciled or suitably 
embroidered and shall be 
completely visible on both sides 
of the Flag in the centre of the 
white panel.
d. Where the Flag is displayed in open, it should, as far as 
possibile, be flown from sunrise to sunset, irrespective 
of weather conditions.
e. Whenever the National Flag is displayed, it should 
occupy the position of honour and should be distinctly 
placed.
f. A damaged or dishevelled flag shall not be displayed.
g. The Flag should not be flown on a single masthead 
simultaneously with any other flag or flags.
h. The Flag should not be flown on any vehicle except 
of the dignitaries mentioned in Section IX of Part III 
of the Flag Code, such as President, Vice President, 
Prime-Minister, Governors, etc.
i. No other flag should be placed higher than or above or 
side by side with the National Flag.
Further details of the Prevention of Insults to National 
Honour Act, 1971 and the Flag Code of India, 2002, are 
available on Ministry of Home Affairs website.
Source: mha.gov.in
Page 3


Lead
Partition Literature 
Manan Kumar Mandal
SPeCIaL 
Literature defying the Raj 
Chaman Lal
FoCuS
Freedom Songs from the Northeast 
Dr Samudra Gupta Kashyap
Kazi Nazrul Islam: a Y outhful Rebellion 
Dr Anuradha Roy
SPeCIaL ISSue
a uguSt 2022 a deveL oP meNt moNthLY
ISSN-0971-8400
do You KNow?
Salient Features of Flag Code of India, 2002
‘Har Ghar Tiranga’
T
he Indian National Flag 
represents the hopes and 
aspirations of the people of India. It 
is the symbol of our national pride 
and there is universal affection 
and respect for, and loyalty to, the 
National Flag. It occupies a unique 
and special place in the emotions 
and psyche of the people of India. 
The hoisting/use display of the 
India National Flag is governed 
by the Prevention of Insults to 
National Honour Act, 1971 and 
the Flag Code of India, 2002. Flag 
Code of India has been divided 
into three parts. Part I of the Code 
contains general description of 
the National Flag. Part II of the Code is devoted to the 
display of the National Flag by members of public, private 
organisations, educational institutions, etc. And Part III 
relates to display of the National Flag by Central and State 
governments and their organisations and agencies. Some 
of the salient features of the Flag Code of India 2002 are:
a. The Flag Code of India, 2002, was amended vide 
Order dated 30 December 2021, and National Flag 
made of polyester or machine-made Flag had been 
allowed. Now, the National Flag shall be made of 
hand-spun and hand-woven or machine-made, cotton, 
polyester, wool, silk, khadi bunting.
b. A member of public, a private organisation or an 
educational institution may hoist/display the National 
Flag on all days and occasions, ceremonial or 
otherwise, consistent with the dignity and honour of 
the National Flag.
c. The National Flag shall be rectangular in shape. The 
Flag can be of any size but the ratio of the length 
to the height (width) of the Flag shall be 3:2. The 
National Flag shall be a tri-colour panel made up of 
T
he Indian National Flag is a symbol of national pride for the entire nation. Under the Azadi Ka Amrit Mahotsav, to 
further honour our Flag, ‘Har Ghar Tiranga’ envisages inspiring Indians everywhere to hoist the National Flag at 
their homes.
Our relationship with the Flag has always been more formal and institutional than personal. Bringing the Flag 
home collectively as a nation in the 75
th
 year of independence thus becomes symbolic of not only an act of personal 
connection to the Tiranga, but also an embodiment of our commitment to nation-building. The idea behind the initiative 
is to invoke the feeling of patriotism in the hearts of the people and promote awareness about our National Flag.
three rectangular panels or sub-
panels of equal widths. The 
colour of the top panel shall 
be India saffron (Kesari) and 
that of the bottom panel shall 
be India green. The middle 
panel shall be white, bearing at 
its centre the design of Ashoka 
Chakra in navy blue colour with 
24 equally spaced spokes. The 
Ashoka Chakra shall preferably 
be screen printed or otherwise 
printed or stenciled or suitably 
embroidered and shall be 
completely visible on both sides 
of the Flag in the centre of the 
white panel.
d. Where the Flag is displayed in open, it should, as far as 
possibile, be flown from sunrise to sunset, irrespective 
of weather conditions.
e. Whenever the National Flag is displayed, it should 
occupy the position of honour and should be distinctly 
placed.
f. A damaged or dishevelled flag shall not be displayed.
g. The Flag should not be flown on a single masthead 
simultaneously with any other flag or flags.
h. The Flag should not be flown on any vehicle except 
of the dignitaries mentioned in Section IX of Part III 
of the Flag Code, such as President, Vice President, 
Prime-Minister, Governors, etc.
i. No other flag should be placed higher than or above or 
side by side with the National Flag.
Further details of the Prevention of Insults to National 
Honour Act, 1971 and the Flag Code of India, 2002, are 
available on Ministry of Home Affairs website.
Source: mha.gov.in
August 2022
YOJANA
Volume-66
No. 08
A DEVELOPMENT MONTHLY
Let noble thoughts come to us from all sides.
Rig Veda
Website: www.publicationsdivision.nic.in
@DPD_India
@publicationsdivision
@dpd_india
EDitoR 
Shuchita chaturvedi
Joint DiREC toR , PRoDuC tion 
d K c hrudhainath
ouR RePReSeNtatIveS 
Ahmedabad: Sumanben A. Machhar, Bengaluru: 
BK Kiranmai, Bhubaneswar: Itishree Singh Rathaur , 
Chennai: Sanjay Ghosh, Guwahati: Maruf Alam, 
Hyderabad: Krishna Vandana P , Jalandhar: Gagandeep 
Kaur Devgan, Kolkata: Khurshid Mallick, Mumbai: 
Umesh Ujgare: Thiruvananthapuram: Roy Chacko.
Yojana (english): Room No. 647, Soochna Bhawan, 
CGO Complex, Lodhi Road, New Delhi-110 003.  
e-mail (editorial): sec-yojanaeng-moib@gov.in
YOJANA, a development monthly published since 
1957, is a theme-based journal providing in-depth 
analyses and views on socio-economic issues in 
the broader framework of government policies. 
Although published by the Ministry of Information 
and Broadcasting, YOJANA is not restricted to 
expressing the official point of view.
diScLaiMer
l 	 The	 vie ws	 e xpressed	 in	 various	 articles	 are	
those	 of	 the	 authors	 and	 the y	 do	 not	 nec essarily	
re flect	 the	 vie ws	 of	 the	 Go vernmen t	 or	 the	
organisation/ s	the y	work	f or .
l Map s/flags	 used	 in	 the	 articles	 are	 only	
indic ative	 and	 the y	 do	 not	 re flect	 the	 politic al	
map	 or	 legal	 represen t ation	 of	 the	 flag	 of	 India /
an y	other	c oun tr y .
l The	 inf ographics/fig ures	 are	 pro vided	 b y	 the	
authors	 through	 their	 reliable	 sourc es	 and	
YOJANA 	 claims	 no	 re sponsibility 	 f or	 the	 same.
l Images,	 graphics	 and	 illus trations,	 whe re ver	
used,	 are	 mos tly	 sourc ed	 from	 go vernme n t	
channels	and	are	indic ative	in	nature.
l YOJANA 	 does	 not	 o wn	 responsi bility	
regarding	 the	 c on t en ts	 of	 the	 advertisemen ts.	
The	 re aders	 are	 reque s t ed	 t o	 verif y	 the	 claim s	
made	 in	 the	 advertisemen ts	 regarding	 c ourses,	
c areer -guidanc e	book s	or	ins titutions.
l YOJANA doesn't 	 e ndorse 	 or 	 promot e 	 an y 	 brands	
or 	 privat e 	 e n tities 	 presen t e d 	 as 	 c ase 	 s tudies 	 in 	 an y	 
of 	 the 	 article s.
SuBScriP tiOn/Grievance S
email: pdjucir@gmail.com 
Phone: 011-24367453  
(Monday-Friday, 9:30 am- 6:00 pm)
Postal address: abhishek chaturvedi, Editor, 
Journals Unit, Publications Division, Room No. 
779, Soochna Bhawan, CGO Complex, Lodhi 
Road, New Delhi-110 003.
Please	 not e	 that	 it	 will	 t ak e	 atleas t	 eigh t	
week s	 t o	 s t art	 your	 sub scrip tion.	 Kindly	 raise	 
your	 queries/grie vanc es	 about	 non	 rec eip t	 of	 the	
journals	only	aft er	this	period.
SuBScriP tiOn-reLated detaiLS : Page 55
in thiS iSSue
number of pages: 60
next iSSue: J&K and LadaKh
Details of the Sales Outlets of the Publications Division on Page 40
YOJANA is published in Assamese, Bengali, English, Gujarati, Hindi, Kannada, Malayalam, 
Marathi, Odia, Punjabi, Tamil, Telugu, and Urdu.
Since 1957
re GuLar S
dO YOu KnO w? Salient Features of Flag code of india, 2002 ...................... Cover-II
Our BOOKS : The Story of India’s Partition ............................................................ 57
Lead articLe
PARTITION LITERATURE 
Manan Kumar Mandal ......................7
FOcuS
FREEDOM SONGS FROM  
THE NORTHEAST 
Dr Samudra Gupta Kashyap .............31
KAzI NAzRUL ISLAM:  
A YOUTHFUL REBELLION 
Dr Anuradha Roy ............................37
SPeciaL articLe
LITERATURE DEFYING THE RAJ 
Chaman Lal ....................................13
FREEDOM MOvEMENT IN 
CENTRAL INDIA 
Dr Sushil Trivedi ............................... 27
ROLE OF HINDI LITERATURE 
Devendra Choubey ............................ 43
ROLE OF URDU LITERATURE 
Dr Naresh ......................................... 47
CONTEMPORARY WRITINGS  
BY WOMEN 
Dr Garima Srivastava .......................... 49
GANDHIAN INFLUENCE 
Dr Dhwanil Parekh ............................. 53
1857 
Gulzar .............................................. 59
BENGALI THEATRE:  
DEFYING COLONIAL BAN 
Dr Sunetra Mitra .............................. 16
CINEMA AS vANGUARD OF 
NATIONALIST MOvEMENT 
Amitava Nag .................................. 21
SPeCIaL ISSue
Page 4


Lead
Partition Literature 
Manan Kumar Mandal
SPeCIaL 
Literature defying the Raj 
Chaman Lal
FoCuS
Freedom Songs from the Northeast 
Dr Samudra Gupta Kashyap
Kazi Nazrul Islam: a Y outhful Rebellion 
Dr Anuradha Roy
SPeCIaL ISSue
a uguSt 2022 a deveL oP meNt moNthLY
ISSN-0971-8400
do You KNow?
Salient Features of Flag Code of India, 2002
‘Har Ghar Tiranga’
T
he Indian National Flag 
represents the hopes and 
aspirations of the people of India. It 
is the symbol of our national pride 
and there is universal affection 
and respect for, and loyalty to, the 
National Flag. It occupies a unique 
and special place in the emotions 
and psyche of the people of India. 
The hoisting/use display of the 
India National Flag is governed 
by the Prevention of Insults to 
National Honour Act, 1971 and 
the Flag Code of India, 2002. Flag 
Code of India has been divided 
into three parts. Part I of the Code 
contains general description of 
the National Flag. Part II of the Code is devoted to the 
display of the National Flag by members of public, private 
organisations, educational institutions, etc. And Part III 
relates to display of the National Flag by Central and State 
governments and their organisations and agencies. Some 
of the salient features of the Flag Code of India 2002 are:
a. The Flag Code of India, 2002, was amended vide 
Order dated 30 December 2021, and National Flag 
made of polyester or machine-made Flag had been 
allowed. Now, the National Flag shall be made of 
hand-spun and hand-woven or machine-made, cotton, 
polyester, wool, silk, khadi bunting.
b. A member of public, a private organisation or an 
educational institution may hoist/display the National 
Flag on all days and occasions, ceremonial or 
otherwise, consistent with the dignity and honour of 
the National Flag.
c. The National Flag shall be rectangular in shape. The 
Flag can be of any size but the ratio of the length 
to the height (width) of the Flag shall be 3:2. The 
National Flag shall be a tri-colour panel made up of 
T
he Indian National Flag is a symbol of national pride for the entire nation. Under the Azadi Ka Amrit Mahotsav, to 
further honour our Flag, ‘Har Ghar Tiranga’ envisages inspiring Indians everywhere to hoist the National Flag at 
their homes.
Our relationship with the Flag has always been more formal and institutional than personal. Bringing the Flag 
home collectively as a nation in the 75
th
 year of independence thus becomes symbolic of not only an act of personal 
connection to the Tiranga, but also an embodiment of our commitment to nation-building. The idea behind the initiative 
is to invoke the feeling of patriotism in the hearts of the people and promote awareness about our National Flag.
three rectangular panels or sub-
panels of equal widths. The 
colour of the top panel shall 
be India saffron (Kesari) and 
that of the bottom panel shall 
be India green. The middle 
panel shall be white, bearing at 
its centre the design of Ashoka 
Chakra in navy blue colour with 
24 equally spaced spokes. The 
Ashoka Chakra shall preferably 
be screen printed or otherwise 
printed or stenciled or suitably 
embroidered and shall be 
completely visible on both sides 
of the Flag in the centre of the 
white panel.
d. Where the Flag is displayed in open, it should, as far as 
possibile, be flown from sunrise to sunset, irrespective 
of weather conditions.
e. Whenever the National Flag is displayed, it should 
occupy the position of honour and should be distinctly 
placed.
f. A damaged or dishevelled flag shall not be displayed.
g. The Flag should not be flown on a single masthead 
simultaneously with any other flag or flags.
h. The Flag should not be flown on any vehicle except 
of the dignitaries mentioned in Section IX of Part III 
of the Flag Code, such as President, Vice President, 
Prime-Minister, Governors, etc.
i. No other flag should be placed higher than or above or 
side by side with the National Flag.
Further details of the Prevention of Insults to National 
Honour Act, 1971 and the Flag Code of India, 2002, are 
available on Ministry of Home Affairs website.
Source: mha.gov.in
August 2022
YOJANA
Volume-66
No. 08
A DEVELOPMENT MONTHLY
Let noble thoughts come to us from all sides.
Rig Veda
Website: www.publicationsdivision.nic.in
@DPD_India
@publicationsdivision
@dpd_india
EDitoR 
Shuchita chaturvedi
Joint DiREC toR , PRoDuC tion 
d K c hrudhainath
ouR RePReSeNtatIveS 
Ahmedabad: Sumanben A. Machhar, Bengaluru: 
BK Kiranmai, Bhubaneswar: Itishree Singh Rathaur , 
Chennai: Sanjay Ghosh, Guwahati: Maruf Alam, 
Hyderabad: Krishna Vandana P , Jalandhar: Gagandeep 
Kaur Devgan, Kolkata: Khurshid Mallick, Mumbai: 
Umesh Ujgare: Thiruvananthapuram: Roy Chacko.
Yojana (english): Room No. 647, Soochna Bhawan, 
CGO Complex, Lodhi Road, New Delhi-110 003.  
e-mail (editorial): sec-yojanaeng-moib@gov.in
YOJANA, a development monthly published since 
1957, is a theme-based journal providing in-depth 
analyses and views on socio-economic issues in 
the broader framework of government policies. 
Although published by the Ministry of Information 
and Broadcasting, YOJANA is not restricted to 
expressing the official point of view.
diScLaiMer
l 	 The	 vie ws	 e xpressed	 in	 various	 articles	 are	
those	 of	 the	 authors	 and	 the y	 do	 not	 nec essarily	
re flect	 the	 vie ws	 of	 the	 Go vernmen t	 or	 the	
organisation/ s	the y	work	f or .
l Map s/flags	 used	 in	 the	 articles	 are	 only	
indic ative	 and	 the y	 do	 not	 re flect	 the	 politic al	
map	 or	 legal	 represen t ation	 of	 the	 flag	 of	 India /
an y	other	c oun tr y .
l The	 inf ographics/fig ures	 are	 pro vided	 b y	 the	
authors	 through	 their	 reliable	 sourc es	 and	
YOJANA 	 claims	 no	 re sponsibility 	 f or	 the	 same.
l Images,	 graphics	 and	 illus trations,	 whe re ver	
used,	 are	 mos tly	 sourc ed	 from	 go vernme n t	
channels	and	are	indic ative	in	nature.
l YOJANA 	 does	 not	 o wn	 responsi bility	
regarding	 the	 c on t en ts	 of	 the	 advertisemen ts.	
The	 re aders	 are	 reque s t ed	 t o	 verif y	 the	 claim s	
made	 in	 the	 advertisemen ts	 regarding	 c ourses,	
c areer -guidanc e	book s	or	ins titutions.
l YOJANA doesn't 	 e ndorse 	 or 	 promot e 	 an y 	 brands	
or 	 privat e 	 e n tities 	 presen t e d 	 as 	 c ase 	 s tudies 	 in 	 an y	 
of 	 the 	 article s.
SuBScriP tiOn/Grievance S
email: pdjucir@gmail.com 
Phone: 011-24367453  
(Monday-Friday, 9:30 am- 6:00 pm)
Postal address: abhishek chaturvedi, Editor, 
Journals Unit, Publications Division, Room No. 
779, Soochna Bhawan, CGO Complex, Lodhi 
Road, New Delhi-110 003.
Please	 not e	 that	 it	 will	 t ak e	 atleas t	 eigh t	
week s	 t o	 s t art	 your	 sub scrip tion.	 Kindly	 raise	 
your	 queries/grie vanc es	 about	 non	 rec eip t	 of	 the	
journals	only	aft er	this	period.
SuBScriP tiOn-reLated detaiLS : Page 55
in thiS iSSue
number of pages: 60
next iSSue: J&K and LadaKh
Details of the Sales Outlets of the Publications Division on Page 40
YOJANA is published in Assamese, Bengali, English, Gujarati, Hindi, Kannada, Malayalam, 
Marathi, Odia, Punjabi, Tamil, Telugu, and Urdu.
Since 1957
re GuLar S
dO YOu KnO w? Salient Features of Flag code of india, 2002 ...................... Cover-II
Our BOOKS : The Story of India’s Partition ............................................................ 57
Lead articLe
PARTITION LITERATURE 
Manan Kumar Mandal ......................7
FOcuS
FREEDOM SONGS FROM  
THE NORTHEAST 
Dr Samudra Gupta Kashyap .............31
KAzI NAzRUL ISLAM:  
A YOUTHFUL REBELLION 
Dr Anuradha Roy ............................37
SPeciaL articLe
LITERATURE DEFYING THE RAJ 
Chaman Lal ....................................13
FREEDOM MOvEMENT IN 
CENTRAL INDIA 
Dr Sushil Trivedi ............................... 27
ROLE OF HINDI LITERATURE 
Devendra Choubey ............................ 43
ROLE OF URDU LITERATURE 
Dr Naresh ......................................... 47
CONTEMPORARY WRITINGS  
BY WOMEN 
Dr Garima Srivastava .......................... 49
GANDHIAN INFLUENCE 
Dr Dhwanil Parekh ............................. 53
1857 
Gulzar .............................................. 59
BENGALI THEATRE:  
DEFYING COLONIAL BAN 
Dr Sunetra Mitra .............................. 16
CINEMA AS vANGUARD OF 
NATIONALIST MOvEMENT 
Amitava Nag .................................. 21
SPeCIaL ISSue
YOJANA   August 2022 5
Editorial
YOJANA
Words of Freedom
A
freedom fighter from Bihar, who was fond of music, was once arrested from 
his home. While in prison, he sent a note to his family. The note when censored 
by the prison authorities was found to be highly seditious and conspiring against the 
British Raj. It had just a single line written in Hindi that read, Is-Raj ke taar dheele 
kar do. This was deciphered as ‘Let the reign of this Raj (British) be loosened.’ He 
was summoned by the authorities and inquired about the said note. The imprisoned 
nationalist humbly replied that he was misunderstood and he merely wished to 
convey to his family to ‘loosen the strings of his musical instrument, Esraj ( ?????),’ 
that he had left midway while being arrested. Such is the power of wordplay that 
was enough to shake the foundation of oppressors. 
Words give the power to ‘imagine’ something that is beyond ordinary 
comprehension. They provide strength to ‘write and document’ incidents and 
experiences that act as valuable historical records for generations to come. They give 
the courage to ‘express and act’ against the wrongs collectively. Through this issue, 
we are revisiting the journey of these words and how they traversed throughout the 
freedom struggle, echoing the voice of millions of Indians. 
In the struggle against the British oppression and the quest for freedom, this ‘imagination’ imbued with words led to 
the creation of fiction as strong as Anandmath which ignited the resistance movement. It also gave birth to songs, poetry 
and slogans that resonated with the masses and voiced their own expression against tyranny. These words invigorated 
the feeling of oneness and selfless love for the motherland. Poems and songs like Vande Matram, Sarey Jahan se Achha 
and Himadri Tung Shring se, instilled pride in our historical and geographical importance and reaffirmed the belief in the 
cultural richness of the land. These utterances also brought people together beyond caste and creed. Consider these lines 
by Kazi Nazrul Islam, ‘Ei-he tomar daan/ Tomar hokey jiwan-dharan/ Tomar hokey pran.’ These words also brought 
people together as illustrated in the lines quoted in Dr Anuradha’s piece, “Who is asking whether they are Hindus or 
Muslims?/ O helmsman, please tell them/ Those who are drowning are human beings, children of my mother!” 
Unfortunately, there was so much happening around during this era that the truth of the times was stranger than the 
fiction. It was thus needed to record the injustice, brutalities and atrocities to build public opinion. This documentation was 
done through newspapers, pamphlets, books, and every piece of literature that revealed the British on paper, quite literally. 
Published works in all the Indian languages as well as in English made the misdeeds of British occupation threadbare and 
raised the collective conscience of the nation to set things right. 
Ironically, these writings also recorded the countless stories of pain and suffering caused during the partition by 
our own comrades. Like a stinging well overflowing with blood-soaked corpses, their stench could be felt far and wide. 
These words didn’t mince themselves. They witnessed countless brutalities committed due to the poison of hatred that 
had engulfed our society. This gave birth to Partition literature, as we know it. These accounts still make us reflect and 
retrospect on what went wrong. 
When these words were used to ‘express and act’, they were equally creative, witty and artistic. Consider the plight 
of a British policeman somewhere in the erstwhile Bengal whose only duty for days would have been to watch the same 
patriotic play every day and to catch the actors red-handed for an act of sedition but he failed to find any reference. 
However, on any given day, the actors took the liberty of adding a few phrases in the form of an unscripted and impromptu 
‘gag’ that filled the hall with a sense of patriotism and gave the performance a new meaning. 
Then there were the clarion calls to ‘act,’ the war cries such as Inquilab Zindabad, Karo ya Maro, and Tum mujhe 
khoon do, mai tumhe azadi dunga, which became symbols and force behind the collective resistance. 
This issue celebrates the words that inspired the ordinary men and women of pre-independence times for a common 
cause. These expressions of the freedom era have documented everything for us to read and understand the humongous efforts 
those generations made and the hardships they suffered. These words have seen it all. This issue is an ode to these musings. ?
Page 5


Lead
Partition Literature 
Manan Kumar Mandal
SPeCIaL 
Literature defying the Raj 
Chaman Lal
FoCuS
Freedom Songs from the Northeast 
Dr Samudra Gupta Kashyap
Kazi Nazrul Islam: a Y outhful Rebellion 
Dr Anuradha Roy
SPeCIaL ISSue
a uguSt 2022 a deveL oP meNt moNthLY
ISSN-0971-8400
do You KNow?
Salient Features of Flag Code of India, 2002
‘Har Ghar Tiranga’
T
he Indian National Flag 
represents the hopes and 
aspirations of the people of India. It 
is the symbol of our national pride 
and there is universal affection 
and respect for, and loyalty to, the 
National Flag. It occupies a unique 
and special place in the emotions 
and psyche of the people of India. 
The hoisting/use display of the 
India National Flag is governed 
by the Prevention of Insults to 
National Honour Act, 1971 and 
the Flag Code of India, 2002. Flag 
Code of India has been divided 
into three parts. Part I of the Code 
contains general description of 
the National Flag. Part II of the Code is devoted to the 
display of the National Flag by members of public, private 
organisations, educational institutions, etc. And Part III 
relates to display of the National Flag by Central and State 
governments and their organisations and agencies. Some 
of the salient features of the Flag Code of India 2002 are:
a. The Flag Code of India, 2002, was amended vide 
Order dated 30 December 2021, and National Flag 
made of polyester or machine-made Flag had been 
allowed. Now, the National Flag shall be made of 
hand-spun and hand-woven or machine-made, cotton, 
polyester, wool, silk, khadi bunting.
b. A member of public, a private organisation or an 
educational institution may hoist/display the National 
Flag on all days and occasions, ceremonial or 
otherwise, consistent with the dignity and honour of 
the National Flag.
c. The National Flag shall be rectangular in shape. The 
Flag can be of any size but the ratio of the length 
to the height (width) of the Flag shall be 3:2. The 
National Flag shall be a tri-colour panel made up of 
T
he Indian National Flag is a symbol of national pride for the entire nation. Under the Azadi Ka Amrit Mahotsav, to 
further honour our Flag, ‘Har Ghar Tiranga’ envisages inspiring Indians everywhere to hoist the National Flag at 
their homes.
Our relationship with the Flag has always been more formal and institutional than personal. Bringing the Flag 
home collectively as a nation in the 75
th
 year of independence thus becomes symbolic of not only an act of personal 
connection to the Tiranga, but also an embodiment of our commitment to nation-building. The idea behind the initiative 
is to invoke the feeling of patriotism in the hearts of the people and promote awareness about our National Flag.
three rectangular panels or sub-
panels of equal widths. The 
colour of the top panel shall 
be India saffron (Kesari) and 
that of the bottom panel shall 
be India green. The middle 
panel shall be white, bearing at 
its centre the design of Ashoka 
Chakra in navy blue colour with 
24 equally spaced spokes. The 
Ashoka Chakra shall preferably 
be screen printed or otherwise 
printed or stenciled or suitably 
embroidered and shall be 
completely visible on both sides 
of the Flag in the centre of the 
white panel.
d. Where the Flag is displayed in open, it should, as far as 
possibile, be flown from sunrise to sunset, irrespective 
of weather conditions.
e. Whenever the National Flag is displayed, it should 
occupy the position of honour and should be distinctly 
placed.
f. A damaged or dishevelled flag shall not be displayed.
g. The Flag should not be flown on a single masthead 
simultaneously with any other flag or flags.
h. The Flag should not be flown on any vehicle except 
of the dignitaries mentioned in Section IX of Part III 
of the Flag Code, such as President, Vice President, 
Prime-Minister, Governors, etc.
i. No other flag should be placed higher than or above or 
side by side with the National Flag.
Further details of the Prevention of Insults to National 
Honour Act, 1971 and the Flag Code of India, 2002, are 
available on Ministry of Home Affairs website.
Source: mha.gov.in
August 2022
YOJANA
Volume-66
No. 08
A DEVELOPMENT MONTHLY
Let noble thoughts come to us from all sides.
Rig Veda
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Since 1957
re GuLar S
dO YOu KnO w? Salient Features of Flag code of india, 2002 ...................... Cover-II
Our BOOKS : The Story of India’s Partition ............................................................ 57
Lead articLe
PARTITION LITERATURE 
Manan Kumar Mandal ......................7
FOcuS
FREEDOM SONGS FROM  
THE NORTHEAST 
Dr Samudra Gupta Kashyap .............31
KAzI NAzRUL ISLAM:  
A YOUTHFUL REBELLION 
Dr Anuradha Roy ............................37
SPeciaL articLe
LITERATURE DEFYING THE RAJ 
Chaman Lal ....................................13
FREEDOM MOvEMENT IN 
CENTRAL INDIA 
Dr Sushil Trivedi ............................... 27
ROLE OF HINDI LITERATURE 
Devendra Choubey ............................ 43
ROLE OF URDU LITERATURE 
Dr Naresh ......................................... 47
CONTEMPORARY WRITINGS  
BY WOMEN 
Dr Garima Srivastava .......................... 49
GANDHIAN INFLUENCE 
Dr Dhwanil Parekh ............................. 53
1857 
Gulzar .............................................. 59
BENGALI THEATRE:  
DEFYING COLONIAL BAN 
Dr Sunetra Mitra .............................. 16
CINEMA AS vANGUARD OF 
NATIONALIST MOvEMENT 
Amitava Nag .................................. 21
SPeCIaL ISSue
YOJANA   August 2022 5
Editorial
YOJANA
Words of Freedom
A
freedom fighter from Bihar, who was fond of music, was once arrested from 
his home. While in prison, he sent a note to his family. The note when censored 
by the prison authorities was found to be highly seditious and conspiring against the 
British Raj. It had just a single line written in Hindi that read, Is-Raj ke taar dheele 
kar do. This was deciphered as ‘Let the reign of this Raj (British) be loosened.’ He 
was summoned by the authorities and inquired about the said note. The imprisoned 
nationalist humbly replied that he was misunderstood and he merely wished to 
convey to his family to ‘loosen the strings of his musical instrument, Esraj ( ?????),’ 
that he had left midway while being arrested. Such is the power of wordplay that 
was enough to shake the foundation of oppressors. 
Words give the power to ‘imagine’ something that is beyond ordinary 
comprehension. They provide strength to ‘write and document’ incidents and 
experiences that act as valuable historical records for generations to come. They give 
the courage to ‘express and act’ against the wrongs collectively. Through this issue, 
we are revisiting the journey of these words and how they traversed throughout the 
freedom struggle, echoing the voice of millions of Indians. 
In the struggle against the British oppression and the quest for freedom, this ‘imagination’ imbued with words led to 
the creation of fiction as strong as Anandmath which ignited the resistance movement. It also gave birth to songs, poetry 
and slogans that resonated with the masses and voiced their own expression against tyranny. These words invigorated 
the feeling of oneness and selfless love for the motherland. Poems and songs like Vande Matram, Sarey Jahan se Achha 
and Himadri Tung Shring se, instilled pride in our historical and geographical importance and reaffirmed the belief in the 
cultural richness of the land. These utterances also brought people together beyond caste and creed. Consider these lines 
by Kazi Nazrul Islam, ‘Ei-he tomar daan/ Tomar hokey jiwan-dharan/ Tomar hokey pran.’ These words also brought 
people together as illustrated in the lines quoted in Dr Anuradha’s piece, “Who is asking whether they are Hindus or 
Muslims?/ O helmsman, please tell them/ Those who are drowning are human beings, children of my mother!” 
Unfortunately, there was so much happening around during this era that the truth of the times was stranger than the 
fiction. It was thus needed to record the injustice, brutalities and atrocities to build public opinion. This documentation was 
done through newspapers, pamphlets, books, and every piece of literature that revealed the British on paper, quite literally. 
Published works in all the Indian languages as well as in English made the misdeeds of British occupation threadbare and 
raised the collective conscience of the nation to set things right. 
Ironically, these writings also recorded the countless stories of pain and suffering caused during the partition by 
our own comrades. Like a stinging well overflowing with blood-soaked corpses, their stench could be felt far and wide. 
These words didn’t mince themselves. They witnessed countless brutalities committed due to the poison of hatred that 
had engulfed our society. This gave birth to Partition literature, as we know it. These accounts still make us reflect and 
retrospect on what went wrong. 
When these words were used to ‘express and act’, they were equally creative, witty and artistic. Consider the plight 
of a British policeman somewhere in the erstwhile Bengal whose only duty for days would have been to watch the same 
patriotic play every day and to catch the actors red-handed for an act of sedition but he failed to find any reference. 
However, on any given day, the actors took the liberty of adding a few phrases in the form of an unscripted and impromptu 
‘gag’ that filled the hall with a sense of patriotism and gave the performance a new meaning. 
Then there were the clarion calls to ‘act,’ the war cries such as Inquilab Zindabad, Karo ya Maro, and Tum mujhe 
khoon do, mai tumhe azadi dunga, which became symbols and force behind the collective resistance. 
This issue celebrates the words that inspired the ordinary men and women of pre-independence times for a common 
cause. These expressions of the freedom era have documented everything for us to read and understand the humongous efforts 
those generations made and the hardships they suffered. These words have seen it all. This issue is an ode to these musings. ?
YOJANA   August 2022 7
he symptomatic nature of literary reflections 
about partition in different parts of the globe 
can be seen where the centrality of the 
partition motif in the post-colonial world 
is one of the major attributes. The world has witnessed 
several partitions like Israel-Palestine, Ireland-England, 
the Partition of Germany (and of course its reunification), 
and Partition of former Yugoslavia, Partition of Korea 
and Vietnam, etc., throughout the 20
th
 
century. In each case, the territorial 
partition proposal has created severe 
problems for the people of either 
side, and destabilised human lives 
for long. The human aspect of these 
sufferings are noted in the literary 
corpus of various languages. However, 
each newly emerged borderland has 
its own spatial character and cultural 
legacies, therefore literary reflections 
are manifold. In each case, the 
partition proposal was imposed or 
overseen by a stronger polity at the 
expanse of a weaker one, instigating 
a ‘moment of nationalism’ which 
Partition Literature
Manan Kumar Mandal
The author is a Professor of Bengali literature & Director of School of Humanities, Netaji Subhas Open University, Kolkata. 
Email: mkmnsou@gmail.com
The multilingual setup of Indian literature compels us to accommodate a muti-dimensional 
history of the state and the margin. Complex trajectories of colonial enterprise and nationalism 
have paved the road to contemporary modern Indian literature where anecdotes of history are 
interwoven in the literary expressions. The emergence of independent India has inspired Indian 
writers and narratives in many ways. Religious and social splits, rift, and ambivalence that have 
worked behind the political discourse of the Indian nation-state in the last two centuries had 
shaped modern Indian literature. Partition of the Indian subcontinent has devastating and 
cascading effects over generations. It changed the literary genres of many Indian languages 
like a watershed event of the 20
th
 century; the animosity it unleashed, the malice carried over 
decades after decades. Literature produced with the reflection of Partition anecdotes has been 
classified as the Partition Literature— a new literary genre of 20
th
 century which is paralleled 
with the holocaust literature, refugee literature, etc.
Paradigm & PersPectives T
produced reconfigured or new national identities. So, to 
explore Partition literature, it is necessary to look through 
the glasses of heterogeneous identities. Living in the post-
colonial timeline, Partition literature not only opens up 
the counter-factuality of state craft, but also explores the 
space for the vicinity of lives in the states that fall apart. At 
the moment of decolonisation, the rationale behind such 
partition proposal has been questioned for long. A sense 
LEAD ARTICLE
The human tragedy caused by the refugee crisis has been an important theme in Partition literature