What do you think?
Rate this book
21 Sarvshreshth Kahaniya - Rabindranath Tagore (Hindi)
रवीन्द्रनाथ टैगोर ने अपने जीवन-काल में बांग्ला भाषा को अपनी लेखनी द्वारा एक महत्त्वपूर्ण आयाम पर पहुँचा दिया। उनके लेखन में भारतीय ग्रामीण-जीवन और बांग्ला संस्कृति का अनूठा मिश्रण देखने को मिलता है। उन्होंने बच्चों की भावनाओं को ध्यान में रखते हुए प्रसिद्ध कहानियां लिखीं हैं, उनमें से एक है 'काबुलीवाला'। एक छोटी-सी बच्ची मिनी को, काबुली चना बेचने वाला अपनी बच्ची की तरह प्यार करता है। लेकिन जब मिनी की शादी में मिनी के पिता, 'काबुलीवाला' को उससे नहीं मिलने देते हैं, तब 'काबुलीवाला' के भीतर एक पिता का हृदय रो पड़ता है। रवीन्द्रनाथ टैगोर द्वारा रचित कहानियों में से कुछ कहानियों का संकलन इस किताब में किया गया है। जिसमें पाषाणी, अवगुंठन, भिखारिन, अपरिचिता, समाज का शिकार, अनाथ एवं अन्य कहानियां सर्वश्रेष्ठ हैं।
226 pages, Paperback
Published March 29, 2015
4 people are currently reading
22 people want to read
About the author
Rabindranath Tagore
2,580 books4,255 followersAwarded the Nobel Prize in Literature in 1913 "because of his profoundly sensitive, fresh and beautiful verse, by which, with consummate skill, he has made his poetic thought, expressed in his own English words, a part of the literature of the West."
Tagore modernised Bengali art by spurning rigid classical forms and resisting linguistic strictures. His novels, stories, songs, dance-dramas, and essays spoke to topics political and personal. Gitanjali (Song Offerings), Gora (Fair-Faced), and Ghare-Baire (The Home and the World) are his best-known works, and his verse, short stories, and novels were acclaimed—or panned—for their lyricism, colloquialism, naturalism, and unnatural contemplation. His compositions were chosen by two nations as national anthems: India's Jana Gana Mana and Bangladesh's Amar Shonar Bangla.
The complete works of Rabindranath Tagore (রবীন্দ্র রচনাবলী) in the original Bengali are now available at these third-party websites:
http://www.tagoreweb.in/
http://www.rabindra-rachanabali.nltr....
Tagore modernised Bengali art by spurning rigid classical forms and resisting linguistic strictures. His novels, stories, songs, dance-dramas, and essays spoke to topics political and personal. Gitanjali (Song Offerings), Gora (Fair-Faced), and Ghare-Baire (The Home and the World) are his best-known works, and his verse, short stories, and novels were acclaimed—or panned—for their lyricism, colloquialism, naturalism, and unnatural contemplation. His compositions were chosen by two nations as national anthems: India's Jana Gana Mana and Bangladesh's Amar Shonar Bangla.
The complete works of Rabindranath Tagore (রবীন্দ্র রচনাবলী) in the original Bengali are now available at these third-party websites:
http://www.tagoreweb.in/
http://www.rabindra-rachanabali.nltr....
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 3 of 3 reviews
February 7, 2025
So, I read this book yesterday. As I also mentioned in my recent video, this book highlights the conservative thought process of people from that time. Issues like racism, patriarchy, dowry, and intercaste marriage being taboo—along with other social elements we still fight against today—were written about so casually by the author, as if there was nothing wrong with them.
There were moments where I expected someone to take a stand against these issues, but no—the scene just moved on. It was brought up later, but only as a conversation, not as something to fight against.
Someone was actually killed for marrying outside their caste. Widowed women were either treated horribly, or Sati Pratha was still practiced. God, how gruesome it must have been—to be burned alive.
There were intelligent women in that era who could have been poets or writers, but instead of being celebrated, they were seen as a problem.
The author used kala, kali for humans with such ease that it felt like even educated people of that time didn’t realize what they were doing. And I’m not saying they were wrong—because even in today’s world, this still happens. It’s shameful.
There was a chapter called Khoya Hua Moti, where it seemed like the person who was actually good was portrayed as bad, stupid, and worthless. In the end, it felt like the author was trying to say that being like that wasn’t a crime, but it was just the mindset of that period. Back then, you weren’t considered an “ideal man” if you listened to your wife, made her happy, or gave her what she wanted without her asking. It was the worst chapter.
Another chapter featured a conversation between Vishnu ji and a lotus-turned-woman, which beautifully described how deep, secure, dangerous, cold, warm, and unpredictable a poet’s heart can be. It can be dark or enlightened, depending on the poet’s mood. That part was amazing.
There was also a chapter about a man who was a mama’s boy, proving that this concept has existed for a long time. Similarly, the idea of a daddy’s girl was also present. In the same chapter, a daughter’s father asked the baraat and the groom to leave because they did not respect his daughter or him as much as she deserved. That was the best part. I felt like they were the only ones who stood against the norm that baraat chali gayi to naak kat jayegi. He knew he was not wrong, and he told them to leave.
An amazing book. But since it was a collection of stories, there were a few that I couldn’t fully understand. Maybe I need more perspective to grasp them. That’s why I rated it 3.5 stars. I might read it again, come back, and change my rating, but for now, it stays at 3.5.
There were moments where I expected someone to take a stand against these issues, but no—the scene just moved on. It was brought up later, but only as a conversation, not as something to fight against.
Someone was actually killed for marrying outside their caste. Widowed women were either treated horribly, or Sati Pratha was still practiced. God, how gruesome it must have been—to be burned alive.
There were intelligent women in that era who could have been poets or writers, but instead of being celebrated, they were seen as a problem.
The author used kala, kali for humans with such ease that it felt like even educated people of that time didn’t realize what they were doing. And I’m not saying they were wrong—because even in today’s world, this still happens. It’s shameful.
There was a chapter called Khoya Hua Moti, where it seemed like the person who was actually good was portrayed as bad, stupid, and worthless. In the end, it felt like the author was trying to say that being like that wasn’t a crime, but it was just the mindset of that period. Back then, you weren’t considered an “ideal man” if you listened to your wife, made her happy, or gave her what she wanted without her asking. It was the worst chapter.
Another chapter featured a conversation between Vishnu ji and a lotus-turned-woman, which beautifully described how deep, secure, dangerous, cold, warm, and unpredictable a poet’s heart can be. It can be dark or enlightened, depending on the poet’s mood. That part was amazing.
There was also a chapter about a man who was a mama’s boy, proving that this concept has existed for a long time. Similarly, the idea of a daddy’s girl was also present. In the same chapter, a daughter’s father asked the baraat and the groom to leave because they did not respect his daughter or him as much as she deserved. That was the best part. I felt like they were the only ones who stood against the norm that baraat chali gayi to naak kat jayegi. He knew he was not wrong, and he told them to leave.
An amazing book. But since it was a collection of stories, there were a few that I couldn’t fully understand. Maybe I need more perspective to grasp them. That’s why I rated it 3.5 stars. I might read it again, come back, and change my rating, but for now, it stays at 3.5.
April 13, 2021
सभी उच्च कोटि की लघुकथाएं हैं, गुरूदेव श्री रबीन्द्रनाथ टैगोर की लेखनी अद्भुत है।
Displaying 1 - 3 of 3 reviews