book review of kabuliwala by rabindranath tagore

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The Kabuliwallah-Story by Rabindranath Tagore

The Kabuliwallah is a story of a narrator’s five-year-old daughter, Mini, and Rahmun, the merchant. Mini calls Rahmun as Kabuliwallah as he is from Kabul and comes to India every year to sell his wares for living.

Mini is a very exuberant child. She always trolls for answers to her questions. She had never been a good listener until she meets Rahmun; the Kabuliwallah.

Rahmun is affectionate toward Mini as she reminds him of his own daughter, Parbati in Afghanistan.

The story is evidence of a delightful and unordinary relation of friendship regardless of the age difference. The story depicts the emotions of love, affection, loneliness and dismal.

Rabindranath Tagore has a distinctive writing style. His stories have an element of psychological and spiritual realism which cannot be exaggerated but could be felt in his writings.

Few lines from the story

“Tears came to my eyes. I forgot that he was a poor Kabuli fruit-seller, while I was -but no, what was I more than he? He also was a father. That impression of the hand of his little Parbati in her distant mountain home reminded me of my own little Mini.”

• The Kabuliwallah is one of the greatest stories of Rabindranath Tagore.
• The storybook- “The Kabuliwallah” is available on Amazon, by different publishers in a compilation of other greatest stories by – Rabindranath Tagore, available in children fiction too.

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Exploring the Depths of Kabuliwala: A Literary Analysis by Rabindranath Tagore

• Rabindranath Tagore

“Exploring the Depths of Kabuliwala: A Literary Analysis by Rabindranath Tagore” is an article that delves into the themes, symbols, and characters of the famous short story by Tagore. This analysis aims to provide a deeper understanding of the story’s message and significance in Indian literature. Through exploring the complexities of the relationship between the protagonist, Mini, and the Kabuliwala, the article sheds light on the themes of empathy, friendship, and cultural differences.

Background of Kabuliwala

Kabuliwala is a short story written by Rabindranath Tagore, a renowned Bengali writer, in 1892. The story is set in Kolkata, India, during the late 19th century, when the city was a bustling hub of trade and commerce. The protagonist of the story is a Pashtun merchant from Afghanistan, known as Kabuliwala, who travels to Kolkata to sell dry fruits and other goods. The story revolves around the relationship between Kabuliwala and a young girl named Mini, whom he befriends and develops a close bond with. The story explores themes of friendship, love, loss, and the complexities of human relationships. Kabuliwala is considered one of Tagore’s most popular and enduring works, and has been adapted into several films and stage productions over the years.

Characters in Kabuliwala

The characters in Rabindranath Tagore’s “Kabuliwala” are complex and multi-dimensional. The protagonist, Abdur Rahman, is a Pashtun merchant who travels from Afghanistan to Calcutta to sell dry fruits and spices. He befriends a young girl named Mini, who reminds him of his own daughter back home. Mini’s father, however, is suspicious of Abdur Rahman’s intentions and forbids him from seeing his daughter. This leads to a tragic misunderstanding that ultimately results in Abdur Rahman’s imprisonment. The story is a poignant exploration of the complexities of human relationships and the power of empathy to bridge cultural divides.

Themes in Kabuliwala

One of the prominent themes in Kabuliwala is the idea of friendship and human connection. The story revolves around the relationship between a young girl named Mini and a Kabuliwala, a fruit-seller from Afghanistan. Despite their differences in age, culture, and social status, the two form a bond that transcends these barriers. Through their interactions, Tagore highlights the importance of empathy and understanding in fostering meaningful relationships. Another theme that emerges in the story is the concept of nostalgia and longing for one’s homeland. The Kabuliwala’s yearning for his family and country is a poignant reminder of the human desire for a sense of belonging and identity. Overall, Kabuliwala is a powerful exploration of the complexities of human relationships and the universal themes of love, loss, and longing.

Symbolism in Kabuliwala

Symbolism plays a significant role in Rabindranath Tagore’s “Kabuliwala.” The story is filled with various symbols that add depth and meaning to the narrative. One of the most prominent symbols in the story is the Kabuliwala’s appearance. He is described as having a long beard and wearing a turban, which represents his Afghan identity. This symbolizes the cultural differences between the Kabuliwala and the Bengali people, highlighting the theme of cultural diversity and the challenges of understanding and accepting different cultures.

Another symbol in the story is the Kabuliwala’s gift of dried fruits to Mini. The dried fruits represent the Kabuliwala’s love and affection for Mini, as well as his desire to maintain a connection with his own daughter, who is far away in Afghanistan. The gift also symbolizes the bond that develops between the Kabuliwala and Mini, despite their age and cultural differences.

The prison is another significant symbol in the story. The Kabuliwala is imprisoned for a crime he committed in Afghanistan, and his time in prison represents the loss of his freedom and the separation from his family. The prison symbolizes the consequences of one’s actions and the impact they can have on one’s life and relationships.

Overall, the use of symbolism in “Kabuliwala” adds depth and complexity to the story, highlighting the themes of cultural diversity, love, and the consequences of one’s actions.

Setting of Kabuliwala

The setting of Kabuliwala is a crucial aspect of the story, as it provides the backdrop for the interactions between the protagonist, Mini, and the titular character, a fruit-seller from Afghanistan. The story is set in Calcutta, India, during the late 19th century, a time when the city was undergoing significant changes due to British colonialism and the influx of immigrants from various parts of the world. The streets of Calcutta are described vividly by Tagore, with their bustling crowds, narrow alleys, and colorful bazaars. The Kabuliwala’s presence in this setting is particularly striking, as he stands out with his long beard, turban, and traditional attire. The contrast between his appearance and that of the other characters in the story highlights the cultural differences between the Afghan and Indian communities. The setting also plays a role in shaping the themes of the story, such as the importance of human connection and the impact of time and change on relationships. Overall, the setting of Kabuliwala is an integral part of the story, providing a rich and complex backdrop for the characters and their interactions.

Narrative Style in Kabuliwala

The narrative style in Kabuliwala is a unique blend of realism and imagination. Tagore’s use of vivid descriptions and sensory details transports the reader to the bustling streets of Calcutta, where the story takes place. The use of dialogue also adds to the realism of the story, as it captures the nuances of everyday conversations between the characters. However, Tagore also employs elements of magical realism, such as the Kabuliwala’s ability to communicate with Mini through his dry fruits, which adds a touch of whimsy to the story. Overall, the narrative style in Kabuliwala is a testament to Tagore’s skill as a writer, as he seamlessly weaves together different literary techniques to create a captivating and thought-provoking story.

Comparison with Other Works by Tagore

In comparison to other works by Tagore, Kabuliwala stands out as a unique piece of literature. While many of Tagore’s works focus on the themes of love, loss, and the complexities of human relationships, Kabuliwala delves into the themes of cultural differences and the bonds that can form between individuals from vastly different backgrounds. Additionally, Kabuliwala is one of Tagore’s few works that features a non-Indian protagonist, which adds an extra layer of complexity to the story. Overall, Kabuliwala showcases Tagore’s ability to explore a wide range of themes and create complex, nuanced characters that resonate with readers.

Impact of Kabuliwala on Indian Literature

Kabuliwala, a short story written by Rabindranath Tagore, has had a significant impact on Indian literature. The story, first published in 1892, explores the relationship between a young girl named Mini and a Kabuliwala, a fruit seller from Afghanistan. The story is a poignant portrayal of the human condition and the bonds that can form between people from vastly different backgrounds.

Kabuliwala has been widely regarded as a masterpiece of Indian literature and has been translated into numerous languages. The story has been adapted into films, plays, and even an opera. The themes of the story, such as the importance of human connection and the impact of societal norms on individual lives, continue to resonate with readers today.

Tagore’s use of language and imagery in Kabuliwala has also been praised by literary critics. The story is written in Tagore’s signature style, which is characterized by its simplicity and lyricism. The descriptions of the bustling streets of Kolkata and the rugged landscape of Afghanistan transport readers to these places and evoke a sense of nostalgia and longing.

Overall, Kabuliwala has left an indelible mark on Indian literature. Its themes and imagery continue to inspire writers and readers alike, and its message of compassion and understanding remains as relevant today as it was over a century ago.

Analysis of the Conflict in Kabuliwala

The conflict in Rabindranath Tagore’s “Kabuliwala” is multi-layered and complex. At its core, it is a clash between two vastly different cultures – that of the Afghan Kabuliwala and the Bengali narrator. The Kabuliwala, a fruit-seller from Afghanistan, is a stranger in a strange land, struggling to make a living in a city that is not his own. The narrator, on the other hand, is a Bengali man who has grown up in Kolkata and is familiar with its customs and traditions.

The conflict between the two arises from their differing perspectives on life and society. The Kabuliwala is a devout Muslim who believes in the importance of family and community. He is deeply attached to his daughter, who is back in Afghanistan, and longs to see her again. The narrator, on the other hand, is a secular man who values individualism and personal freedom. He is initially suspicious of the Kabuliwala, seeing him as a potential threat to his family’s safety.

As the story progresses, however, the two men begin to develop a bond. The Kabuliwala becomes a regular visitor to the narrator’s home, and the two share stories and experiences. The narrator begins to see the Kabuliwala as a human being, rather than a foreigner to be feared.

The conflict in “Kabuliwala” is not just between two individuals, but also between two cultures. Tagore uses the story to explore the tensions that arise when different cultures come into contact with each other. The Kabuliwala’s struggle to adapt to life in Kolkata is a metaphor for the challenges faced by immigrants in any society. The story also highlights the importance of empathy and understanding in bridging cultural divides.

Overall, the conflict in “Kabuliwala” is a nuanced and thought-provoking exploration of the complexities of human relationships and cultural differences. Tagore’s masterful storytelling and vivid characterization make this a timeless classic that continues to resonate with readers today.

Exploration of the Father-Daughter Relationship in Kabuliwala

The father-daughter relationship is a prominent theme in Rabindranath Tagore’s short story, Kabuliwala. The story revolves around the bond between a father and his daughter, Mini, and the impact of a stranger, a Kabuliwala, on their relationship. The Kabuliwala, a fruit-seller from Afghanistan, befriends Mini and becomes a father figure to her. However, their relationship is cut short when the Kabuliwala is imprisoned for a crime he did not commit. The story explores the complexities of the father-daughter relationship and the role of outsiders in shaping it. Through the characters of Mini and the Kabuliwala, Tagore highlights the importance of empathy and understanding in building meaningful relationships. The story also raises questions about the nature of fatherhood and the sacrifices that fathers make for their children. Overall, the exploration of the father-daughter relationship in Kabuliwala is a poignant reminder of the power of love and the bonds that connect us all.

Significance of the Title Kabuliwala

The title of Rabindranath Tagore’s short story, Kabuliwala, holds great significance in understanding the themes and motifs explored in the narrative. The term “Kabuliwala” refers to a person from Kabul, Afghanistan, who travels to India to sell dry fruits and other goods. However, in Tagore’s story, the title character, Rahamat, is much more than just a Kabuliwala. He represents the complexities of human relationships, the impact of time and distance on these relationships, and the universal themes of love and loss. The title, therefore, serves as a metaphor for the larger themes of the story and highlights the cultural and social differences that exist between the two countries. Through the character of Rahamat, Tagore explores the idea of identity and how it is shaped by one’s experiences and surroundings. The title, therefore, plays a crucial role in setting the tone and context of the story and provides a deeper understanding of the themes explored in the narrative.

Interpretation of the Ending of Kabuliwala

The ending of Kabuliwala by Rabindranath Tagore is a poignant and thought-provoking one. The story, which revolves around the relationship between a young girl named Mini and a Kabuliwala, or a fruit-seller from Afghanistan, comes to a close with a twist that leaves readers with much to ponder.

As the Kabuliwala is about to leave Mini’s home, he is arrested for a crime he did not commit. Mini’s father, who had previously been wary of the Kabuliwala, comes to his defense and helps him secure his release. However, when the Kabuliwala returns to Mini’s home, he finds that she has grown up and no longer recognizes him.

The ending of Kabuliwala can be interpreted in a number of ways. Some readers may see it as a commentary on the fleeting nature of human relationships and the inevitability of change. Others may view it as a reflection on the power of memory and the importance of holding onto the past.

Regardless of how one chooses to interpret the ending of Kabuliwala, it is clear that Tagore has crafted a story that is both emotionally resonant and intellectually stimulating. Through his exploration of themes such as identity, family, and cultural difference, Tagore invites readers to engage with complex issues in a way that is both accessible and deeply moving.

Exploration of the Cultural Context in Kabuliwala

Kabuliwala, a short story by Rabindranath Tagore, is a poignant tale of the bond between a young girl and an Afghan fruit-seller. The story is set in Calcutta during the early 20th century, a time when India was under British colonial rule. The cultural context of the story is crucial to understanding the themes and motifs that Tagore explores in his work.

One of the most significant cultural aspects of Kabuliwala is the relationship between the Indian and Afghan communities. The protagonist, Mini, is a young Bengali girl who befriends the Kabuliwala, a Pashtun man from Afghanistan. The story explores the cultural differences between the two communities, highlighting the prejudices and stereotypes that exist on both sides. The Kabuliwala is initially viewed with suspicion and fear by the Indian community, who see him as a foreigner and a potential threat. However, as the story progresses, Mini and the Kabuliwala develop a deep bond that transcends cultural barriers.

Another important cultural context in Kabuliwala is the role of women in Indian society. Mini’s mother is a traditional Bengali woman who is confined to the domestic sphere. She is initially wary of the Kabuliwala’s presence in their home, but eventually comes to accept him as a friend of her daughter. The story also touches on the theme of child marriage, which was prevalent in Indian society at the time. Mini’s father is eager to arrange a marriage for her, despite her young age and protests.

Overall, the cultural context of Kabuliwala is essential to understanding the themes and messages that Tagore conveys in his work. The story explores the complexities of cultural identity, prejudice, and gender roles in Indian society during the colonial era. Through the relationship between Mini and the Kabuliwala, Tagore highlights the power of human connection to transcend cultural barriers and bridge divides.

Analysis of the Language and Literary Devices in Kabuliwala

In Kabuliwala, Rabindranath Tagore masterfully employs various literary devices to convey the story’s themes and emotions. The language used in the story is simple yet evocative, allowing the reader to easily connect with the characters and their experiences. The use of imagery is particularly striking, with vivid descriptions of the bustling streets of Kolkata and the rugged terrain of Afghanistan. The contrast between these two settings highlights the cultural differences between the protagonist and the Kabuliwala, and underscores the theme of human connection despite these differences. Additionally, Tagore employs symbolism to great effect, with the Kabuliwala’s shawl serving as a powerful metaphor for the bond between father and daughter. Overall, the language and literary devices used in Kabuliwala contribute to a rich and nuanced exploration of themes such as love, loss, and the human experience.

Exploration of the Themes of Love and Loss in Kabuliwala

In Kabuliwala, Rabindranath Tagore explores the themes of love and loss through the relationship between the protagonist, Mini, and the Kabuliwala, a fruit-seller from Afghanistan. The story is set in Calcutta, where the Kabuliwala comes to sell his wares and befriends Mini, a young girl who reminds him of his own daughter back home. As the two develop a bond, the Kabuliwala becomes a regular visitor to Mini’s home, bringing her gifts and sharing stories of his homeland.

However, their relationship is cut short when the Kabuliwala is arrested for a crime he did not commit and sent to prison. Mini grows up and forgets about the Kabuliwala, until she is reminded of him years later when she sees a group of prisoners being led to the jail. The story ends with Mini realizing the depth of the Kabuliwala’s love for her and the loss she feels at not being able to see him again.

Through the story of the Kabuliwala, Tagore explores the universal themes of love and loss. The Kabuliwala’s love for Mini is pure and selfless, and he is willing to sacrifice his own freedom for her. Mini, on the other hand, experiences the loss of a friend and mentor when the Kabuliwala is taken away. The story also touches on the theme of cultural differences, as the Kabuliwala’s foreignness and unfamiliarity with Indian customs is a source of both curiosity and suspicion for the other characters in the story.

Overall, Kabuliwala is a poignant and moving exploration of the human experience of love and loss, and the ways in which these emotions can transcend cultural and linguistic barriers.

Comparison with Other Works of World Literature

When it comes to world literature, Kabuliwala by Rabindranath Tagore stands out as a unique and powerful work. While there are certainly other stories that explore themes of friendship, loss, and cultural differences, few do so with the same level of nuance and emotional depth as Kabuliwala.

One work that comes to mind as a potential comparison is John Steinbeck’s Of Mice and Men. Like Kabuliwala, this novel explores the relationship between two very different men who form a bond despite their differences. However, while Of Mice and Men is certainly a moving and well-written work, it lacks the same level of cultural specificity and attention to detail that makes Kabuliwala so compelling.

Another work that could be compared to Kabuliwala is Khaled Hosseini’s The Kite Runner. Both stories take place in Afghanistan and deal with themes of family, friendship, and loss. However, while The Kite Runner is a powerful and important work in its own right, it lacks the same level of subtlety and emotional nuance that makes Kabuliwala such a standout piece of literature.

Ultimately, while there are certainly other works of world literature that explore similar themes to Kabuliwala, few do so with the same level of emotional depth and cultural specificity. Tagore’s story is a true masterpiece, and one that deserves to be read and appreciated by readers around the world.

The Role of Religion in Kabuliwala

Religion plays a significant role in Rabindranath Tagore’s short story, Kabuliwala. The story is set in Calcutta, where the protagonist, a young girl named Mini, befriends a Kabuliwala, a fruit-seller from Afghanistan. The Kabuliwala is a devout Muslim, and his faith is an essential aspect of his character. He prays five times a day, observes Ramadan, and makes a pilgrimage to Mecca.

The Kabuliwala’s religious beliefs and practices are contrasted with those of the other characters in the story, who are mostly Hindu. Mini’s father, for instance, is a rationalist who dismisses the Kabuliwala’s stories of his homeland and his family. He is also suspicious of the Kabuliwala’s intentions towards his daughter. In contrast, Mini is fascinated by the Kabuliwala’s stories and is drawn to his kind and gentle nature.

The story also explores the theme of human connection across religious and cultural boundaries. Despite their different backgrounds and beliefs, Mini and the Kabuliwala form a bond based on their shared humanity. The Kabuliwala sees Mini as a surrogate for his own daughter, who he has left behind in Afghanistan. Mini, in turn, sees the Kabuliwala as a friend and confidant.

Overall, religion serves as a lens through which the characters in Kabuliwala view the world and each other. It highlights the differences and similarities between them and underscores the importance of empathy and understanding in bridging cultural divides.

Analysis of the Motifs in Kabuliwala

One of the most prominent motifs in Kabuliwala is the theme of fatherhood. The protagonist, Rahmat, is a father who is separated from his own daughter due to his work as a Kabuliwala, or a seller of goods from Kabul. This separation is mirrored in the relationship between Rahmat and Mini, a young girl who reminds him of his own daughter. Through their interactions, Tagore explores the complexities of fatherhood and the sacrifices that come with it. Another important motif is the theme of cultural differences and the clash between tradition and modernity. Rahmat represents the traditional ways of life in Afghanistan, while Mini and her family represent the modern, urban lifestyle of India. This clash is highlighted in the scene where Rahmat is arrested for attempting to kidnap Mini, as it shows the misunderstandings and prejudices that can arise from cultural differences. Overall, the motifs in Kabuliwala add depth and complexity to the story, allowing readers to explore themes of family, tradition, and cultural identity.

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The Kabuliwala Short Story by Rabindranath Tagore

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“Kabuliwala” is a poignant short story written by Rabindranath Tagore , one of the most celebrated literary figures of India. First published in 1892, it tells the story of the bond between a young girl named Mini and a Kabuliwala, an Afghan fruit-seller named Abdur Rahman.

The Kabuliwala Short Story by Rabindranath Tagore- Set in Kolkata (formerly Calcutta) during the late 19th century, the story begins with the introduction of the protagonist, a writer who observes the interactions between Mini and the Kabuliwala from his window. 

The Kabuliwala, a tall, bearded man in traditional attire, arrives in Kolkata to sell dry fruits and almonds. He befriends Mini, an innocent and curious five-year-old girl, who is fascinated by his appearance and the items he sells.

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The Kabuliwala Short Story by Rabindranath Tagore- Mini’s mother, however, is skeptical of the Kabuliwala due to his unfamiliarity and appearance. She warns Mini to be cautious and not interact with strangers. Despite her mother’s admonitions, Mini develops a genuine affection for the Kabuliwala, who dotes on her like a father figure. They form an unlikely bond, as Mini reminds him of his own daughter back in Afghanistan.

The Kabuliwala Short Story by Rabindranath Tagore- The Kabuliwala visits Mini frequently, bringing her almonds and sharing Storys of his homeland. Mini is captivated by his tales and views him as an exotic and fascinating figure. She treats him with warmth and trust, and the Kabuliwala reciprocates with kindness and affection. Their interactions become a source of joy and solace for both of them.

The Kabuliwala Short Story by Rabindranath Tagore- However, as time passes, Mini’s family decides to arrange her marriage. Preoccupied with the wedding preparations, Mini becomes distant from the Kabuliwala. Her priorities shift, and she begins to prioritize the demands of her impending marriage. The Kabuliwala feels the growing distance but remains patient and hopeful.

One day, as the Kabuliwala visits Mini’s house, he finds her playing with her doll and wearing new clothes. Mistaking Mini for his own daughter, who has now grown up, he becomes overwhelmed with emotion and happiness. In his excitement, he takes out a knife to cut an apple for her, but his unfamiliar behavior alarms the family. They accuse him of attempting to harm Mini and call the police.

The Kabuliwala Short Story by Rabindranath Tagore- The police arrive and take the Kabuliwala away, leaving Mini distraught and confused. As the story progresses, the writer recounts how he encounters the Kabuliwala years later when he is released from prison. The Kabuliwala has aged significantly, and the separation from Mini has left a profound impact on him. He yearns to see his daughter again but fears she may not remember him.

The story concludes with a bittersweet ending as the writer takes the Kabuliwala to Mini, now a grown woman. Mini, initially unable to recall her childhood memories, is deeply moved by the presence of the Kabuliwala. In a poignant moment, she embraces him, evoking a flood of emotions and memories from their shared past.

The Kabuliwala Short Story by Rabindranath Tagore- “Kabuliwala” explores themes of human connection, love, and the impact of time and separation. Tagore’s evocative storytelling delves into the complexities of relationships and the enduring bonds formed between unlikely individuals. The story also addresses themes of prejudice, cultural differences, and the ability to find common ground in the face of adversity.

The Kabuliwala Short Story by Rabindranath Tagore- Through the character of the Kabuliwala, Tagore highlights the universal yearning for family and home, as well as the sacrifices and hardships faced by those who leave their homelands in search of a better life. “Kabuliwala” serves as a poignant reminder of the power of human connection and the lasting impact we can have on one another’s lives,

About Rabindranath Tagore

Rabindranath Tagore, also known as Gurudev, was a prominent figure in Indian literature, music, and art. He was a poet, philosopher, musician, and playwright who reshaped Bengali literature and greatly influenced Indian culture. Tagore was born on May 7, 1861, in Calcutta, British India, and he passed away on August 7, 1941, in Calcutta. His immense contributions and legacy continue to inspire people around the world.

Tagore belonged to a renowned Bengali family that was deeply involved in the arts and cultural activities. His father, Debendranath Tagore, was a leader of the Brahmo Samaj, a religious and social reform movement in Bengal. Tagore received a versatile education, studying a wide range of subjects including literature, history, philosophy, and science. He was also fluent in several languages, including Bengali, English, Sanskrit, and Persian.

The Kabuliwala Short Story by Rabindranath Tagore- As a young man, Tagore began writing poetry and soon gained recognition for his lyrical style and profound themes. His first collection of poems, titled “Kabi Kahini” (The Tale of a Poet), was published when he was just 16 years old. 

Over the years, he continued to write poetry, experimenting with various forms and themes. Tagore’s poetic works are known for their deep spiritual insight, romanticism, and celebration of nature.

The Kabuliwala Short Story by Rabindranath Tagore- In addition to his poetry, Tagore was a prolific writer of songs, often composing both the lyrics and the music himself. 

His compositions, known as Rabindra Sangeet, are an integral part of Indian classical music and continue to be widely performed and celebrated. Tagore’s songs reflect a range of emotions and explore themes such as love, devotion, nature, and the human condition.

The Kabuliwala Short Story by Rabindranath Tagore- Tagore’s literary genius extended beyond poetry and music. He wrote several novels, short stories, and plays, many of which depicted the social and cultural issues of his time. His most famous work of fiction is the novel “Gora,” which explores themes of nationalism, identity, and social reform. 

Another notable work is the collection of short stories titled “Gitanjali” (Song Offerings), which earned Tagore the Nobel Prize in Literature in 1913, making him the first non-European to receive the prestigious award.

The Kabuliwala Short Story by Rabindranath Tagore- Apart from his literary pursuits, Tagore was deeply involved in social and political activism. He was a strong advocate for Indian independence and spoke out against British colonial rule. Tagore established an experimental school called Santiniketan, which aimed to provide education in a natural and holistic environment. Santiniketan later became Visva-Bharati University, one of India’s premier institutions for arts and humanities.

The Kabuliwala Short Story by Rabindranath Tagore- Tagore’s philosophy emphasized the importance of unity, harmony, and interconnectedness. He believed in the universality of human values and promoted cultural exchange and dialogue. Tagore’s international travels and interactions with prominent thinkers and artists from different parts of the world influenced his worldview and his vision of a global community.

Throughout his life, Tagore was an advocate for peace and understanding among nations. He actively participated in the international arena, engaging with global leaders and intellectuals. His efforts to promote dialogue and bridge cultural gaps earned him immense respect and admiration worldwide.

The Kabuliwala Short Story by Rabindranath Tagore- Rabindranath Tagore’s impact extends far beyond his literary and artistic contributions. He played a significant role in shaping Indian literature and cultural identity during a time of great social and political change. 

His writings continue to be celebrated for their timeless wisdom, emotional depth, and artistic beauty. Tagore’s legacy serves as an inspiration for generations to come, reminding us of the power of art and the importance of embracing diversity and promoting peace.

The Kabuliwala Characters

“Kabuliwala” is a famous short story written by Rabindranath Tagore, first published in 1892. The story is set in Kolkata (formerly Calcutta) and revolves around the relationship between a young girl named Mini and a Kabuliwala, a fruit seller from Afghanistan. Through the characters in the story, Tagore explores themes of friendship, humanity, and the power of empathy. Let’s take a closer look at the main characters of “Kabuliwala.”

• Kabuliwala (Rahmat Khan): The central character of the story is a Kabuliwala named Rahmat Khan. He is a middle-aged man from Afghanistan who sells dry fruits and other items on the streets of Kolkata. Rahmat Khan is depicted as a kind-hearted and affectionate person. He has a long beard and wears a loose-fitting robe and a turban, characteristic of his Afghan heritage. Despite his physical appearance, Rahmat Khan is a gentle soul, always willing to engage in conversations and share stories.
• Mini: Mini is a five-year-old girl who lives with her parents in Kolkata. She is described as an innocent and curious child, full of wonder and imagination. Mini is fascinated by the Kabuliwala and forms a unique bond with him. She sees Rahmat Khan as a friend and confidant, and they spend time together, sharing stories and laughter. Mini’s innocent and open-hearted nature allows her to connect with people from different backgrounds, transcending cultural and language barriers.
• Mini’s Father: Mini’s father is a practical and cautious man. He is initially skeptical of the Kabuliwala, considering him to be a mere peddler and a stranger. He tries to protect Mini by discouraging her from interacting too closely with Rahmat Khan. However, as the story progresses, he begins to understand the depth of the Kabuliwala’s emotions and develops empathy towards him.
• Mini’s Mother: Mini’s mother is a caring and compassionate woman. She is initially worried about Mini’s close relationship with Rahmat Khan but eventually realizes the purity of their bond. She becomes more accepting and understanding, supporting Mini’s connection with the Kabuliwala.
• The Landlord: The landlord is a minor character in the story, representing the typical middle-class Bengali society of the time. He is depicted as greedy and unsympathetic towards the plight of the Kabuliwala. He demands rent from Rahmat Khan despite knowing about his financial struggles and lack of customers. The landlord’s attitude stands in stark contrast to the compassionate nature of Mini and her family.

The Kabuliwala Short Story by Rabindranath Tagore- The interaction between these characters highlights the universal themes of empathy and understanding. Tagore uses the relationship between Mini and the Kabuliwala to explore the idea of human connection transcending boundaries of language, culture, and age. The story also raises questions about the transient nature of relationships and the impact of time and circumstances on these connections.

“Kabuliwala” is a touching and thought-provoking short story by Rabindranath Tagore. It portrays the bond between a young girl, Mini, and a Kabuliwala, Abdur Rahman, highlighting themes of human connection, love, and the impact of time and separation. Through their interactions, Tagore explores the capacity for empathy, understanding, and compassion that transcends cultural and social barriers.

The Kabuliwala Short Story by Rabindranath Tagore- The story underscores the universality of human emotions and the profound impact that even brief encounters can have on our lives. 

The Kabuliwala Short Story by Rabindranath Tagore- It reminds us of the power of empathy in fostering meaningful relationships and bridging the gaps between different cultures and backgrounds. Through the characters of Mini and the Kabuliwala, Tagore invites readers to reflect on the importance of cherishing human connections and the consequences of losing touch with the people who once held a special place in our hearts.

The Kabuliwala Short Story by Rabindranath Tagore- “Kabuliwala” also sheds light on the sacrifices and struggles faced by individuals who leave their homes in search of a better life, as seen through the Kabuliwala’s longing for his daughter back in Afghanistan. The story invites us to consider the complexities of migration, displacement, and the challenges faced by those who strive to provide for their families in unfamiliar lands.

The Kabuliwala Short Story by Rabindranath Tagore- Ultimately, “Kabuliwala” serves as a poignant reminder of the power of empathy, love, and understanding in fostering meaningful connections with others. 

The Kabuliwala Short Story by Rabindranath Tagore- It urges us to embrace the common threads that bind us as human beings and to recognize the potential for transformation and growth that lies within these connections. Tagore’s masterful storytelling and exploration of universal themes make “Kabuliwala” a timeless piece of literature that continues to resonate with readers around the world.

Q: When was “Kabuliwala” written? 

A: “Kabuliwala” was written by Rabindranath Tagore and was first published in 1892.

Q: What is the main theme of “Kabuliwala”? 

A: The main themes of “Kabuliwala” include human connection, love, the impact of time and separation, cultural differences, empathy, and the sacrifices made by individuals who leave their homes in search of a better life.

Q: Where is “Kabuliwala” set? 

A: “Kabuliwala” is set in Kolkata (formerly Calcutta), India, during the late 19th century.

Q: Who are the main characters in “Kabuliwala”? 

A: The main characters in “Kabuliwala” are Mini, a young girl, and the Kabuliwala, Abdur Rahman, an Afghan fruit-seller.

Q: What is the significance of the bond between Mini and the Kabuliwala? 

A: The bond between Mini and the Kabuliwala highlights the capacity for empathy, understanding, and compassion that transcends cultural and social barriers. It explores the impact that brief encounters can have on our lives and the power of human connection.

Q: What themes are explored in “Kabuliwala”? 

A: Some of the themes explored in “Kabuliwala” include human connection, love, the impact of time and separation, cultural differences, empathy, and the sacrifices made by individuals who leave their homes in search of a better life.

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The migration themes in the 19th century short story 'Kabuliwala' resonate today

Lauren Frayer

Generations of Indian schoolkids have read Kabuliwala — the tale of an Afghan migrant in India. The story remains timely today with mistreatment of migrants, especially Muslims, on the rise.

Copyright © 2021 NPR. All rights reserved. Visit our website terms of use and permissions pages at www.npr.org for further information.

NPR transcripts are created on a rush deadline by an NPR contractor. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR’s programming is the audio record.

Rabindranath Tagore: Short Stories

By rabindranath tagore, rabindranath tagore: short stories summary and analysis of "kabuliwallah".

The story opens with the narrator talking about his precocious five-year-old daughter Mini, who learned how to talk within a year of being born and practically hadn’t stopped talking since. Her mother often tells her to be quiet, but her father prefers to let her talk, so she talks to him often.

One day while the narrator is writing, Mini starts crying out “Kabuliwallah, Kabuliwallah!” The man she’s shouting about is an Afghan in baggy clothes, walking along selling grapes and nuts. Mini fears him, convinced that she has children the size of herself stashed in his bag.

But a few days later, our narrator finds the Kabuliwallah sitting with Mini, paying close attention as she talks and talks. He has given her some grapes and pistachios, so the narrator gives the Kabuliwallah half a rupee. Later, Mini’s mother finds her with the half-rupee and asks where she got it, and is displeased to hear she took money from the man.

Mini and the Kabuliwallah develop a close relationship, spending time together every day joking around and talking. The narrator enjoys talking to the Kabuliwallah too, asking him about his home country of Afghanistan, and all about his travels. But Mini’s mother is alarmed by her daughter’s closeness with the man, worrying that he might try to abduct Mini. The narrator does not agree that there is any danger.

Every year in the middle of the month of Magh, the Kabuliwallah returns home. Before making the trip, he goes around collecting money he is owed. But this year, the Kabuliwallah gets in a scuffle with a man who owes him money and ends up stabbing him. This lands him in jail for the next several years, during which Mini grows up and starts enjoying the company of girls her age. The narrator more or less forgets about the Kabuliwallah.

But on the day of Mini’s wedding, the Kabuliwallah appears at the narrator’s house. Without a bag or his long hair, he is barely recognizable to the narrator, but he eventually welcomes him in. The narrator is uneasy, thinking about how the Kabuliwallah is the only would-be murderer he’s ever known, and tells the visitor to leave. He complies.

But shortly after, the Kabuliwallah returns, bringing a gift of grapes and pistachios for Mini. The narrator doesn’t tell him that it’s her wedding today, but simply repeats that there’s an engagement at their house and he must go. But the Kabuliwallah pulls a small piece of paper out of his coat pocket and shows it to the narrator. It’s a handprint in ash, and he explains that he has a daughter back home in Afghanistan, and that Mini helps him deal with the heartache of being so far from her. The narrator is touched and gets Mini.

Mini and the Kabuliwallah have an awkward exchange during which the man realizes that Mini has grown up, and therefore so has his own daughter. Like with Mini, he’ll have to reacquaint himself with his daughter. The narrator gives the Kabuliwallah money so that he can return home to Afghanistan to see his daughter, meaning that Mini’s wedding will lose some of the theatrics such as electric lights and a brass band. But the wedding will be “lit by a kinder, more gracious light.”

There are two central themes in this story, and Tagore masterfully plays them against each other to build tension in the narrative. The first key theme is otherness , with Kabuliwallah standing as a clear outsider who speaks broken Bengali and dresses in a way that situates him outside of typical Bengali society. The narrator is fascinated by him in part because of the fact that he’s seen parts of the world that are so different from Calcutta, while the narrator’s wife distrusts him precisely because he is a foreigner, and perhaps one who will kidnap her child, which she thinks Afghanis are wont to do.

The other theme is doubling , as the narrator and the Kabuliwallah are construed as mirror characters of one another. They are both shown as storytellers, and each is fascinated enough by Mini to listen to her talk for hours. But most importantly, Tagore reminds us that they’re both fathers, and the narrator seeing the Kabuliwallah as a man who is heartsick over a daughter that he has not seen in years helps the narrator see the man as a human being, not as some would-be murderer.

The genius of the story is the fact that the climax seems to come when Kabuliwallah stabs the debtor, which would confirm the narrator’s wife’s worst fears that this outsider is dangerous. During what seems like the denouement of the story, the Kabuliwallah returns and the narrator, who has clearly spent the intervening years considering the man a would-be murderer, tries to brush this outsider off.

But then the real climax comes. The Kabuliwallah pulls out the piece of paper with his daughter’s handprint inscribed on it. This image draws a link between the narrator and Kabuliwallah as men with daughters they love dearly. With the move to bond the narrator and the Kabuliwallah, Tagore crafts a tale about finding common humanity despite all of the differences that two men may have.

It’s worth noting here that one of the things that makes Tagore such an innovator given the context he was writing in was his unconventional narrative structure. Indeed, this story doesn’t play out over some sort of conflict and resolution like a typical narrative (or the adventure stories that the narrator writes) might. Instead, Tagore develops a set of relationships and shows us how those relationships play out when tempered by the sands of time.

Rabindranath Tagore: Short Stories Questions and Answers

The Question and Answer section for Rabindranath Tagore: Short Stories is a great resource to ask questions, find answers, and discuss the novel.

Character sketch of kabuliwala

A traveling fruit and nut merchant from Afghanistan, the Kabuliwallah develops an unlikely friendship with a five-year-old girl while in Calcutta. After a period of time in jail, the Kabuliwallah returns to meet the girl, only to find her on her...

Discuss the contribution of Tagore to Indian education discussed in Uma Gupta's book.

I'm sorry, this is a short-answer question forum designed for text specific questions. I am unfamiliar with the book you've cited above.

Comment on themes of Tagore’s writing,

GradeSaver as a complete theme page readily available for your use in its study guide for the unit.

Study Guide for Rabindranath Tagore: Short Stories

Rabindranath Tagore: Short Stories study guide contains a biography of Rabindranath Tagore, literature essays, quiz questions, major themes, characters, and a full summary and analysis.

• About Rabindranath Tagore: Short Stories
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Lesson Plan for Rabindranath Tagore: Short Stories

• About the Author
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31 pages • 1 hour read

A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.

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Authorial Context: Rabindranath Tagore

Rabindranath Tagore is a renowned Indian poet, philosopher, and author. He was born on May 7, 1861, in Calcutta, which was then the capital of British India. Tagore hailed from a family well-versed in literature, music, and the arts. Early exposure to culture influenced his creative development. His father, Debendranath Tagore, was a prominent philosopher, while his mother, Sarada Devi, was known for her literary talents.

Tagore received a traditional education in both Sanskrit and English, which reflects the fusion of Indian and Western influences in his upbringing. He demonstrated exceptional poetic talent from a young age and went on to compose a vast body of work that encompassed poetry, novels, short stories, essays, and songs. He is best known for his collection of poems titled Gitanjali (1910) which earned him the Nobel Prize in Literature in 1913, making him the first non-European to receive the prize.

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Summary of the Story The Kabuliwala by R.N. Tagore

Introduction of the story:.

The story entitled the “Kabuliwala” has been set in the early twentieth century Kolkata. It delicately explores the bonds of friendship, affection and parting in the relationship between a middle - aged Pathan trader and a five year old Bengali girl. It is a simple tale of a father's love for his daughter and the transfer of that love to another little girl. It is a love that transcends the borders of race, religion and language.

This story is all about the beautiful relation between the daughter and father. Though separated physically, the memories sustain the love for the child. Only a spark is necessary to light up those memories. Such was the case with Mini who woke up with affection in Kabuliwala, for his long forgotten daughter in a faraway land. In the story, Tagore has presented Mini's initial reaction to Kabuliwala. It is only through the character of the narrator that Tagore has shown the love and affection as well as attraction for the foreign places. Whenever the narrator sees Kabuliwala, he is immediately transported to the dry / arid mountains of Afghanistan, which he relishes. Through the portrayal of Kabuliwala, the narrator has also shown the fear of the foreigner and the fear of the foreign land. Tagore succeeds in bringing a twist in the story. Rahamat kills a man for not paying back is debt to him and is consequently jailed for many years. It is natural for others to forget him and so do the author and his daughter. But Rahamat does not forget them. He appears at the decorated house with the usual gifts for the “Khoki” with a heart, full of fatherly love, he longs to see the little girl. The simple Kabuliwala has no idea that with the passage of time, she is no longer a small girl but a grown up one, to be married that day. The sentimental ending, the goodness of all character the childish girl, the natural suspicion of a mother are what make this an unforgettable story. Taken from “Galpaguchha” (a collection of short stories) Kabuliwala will continue to occupy a special position in our heart and soul. The regional flavour, the interesting dialogues and the twists and turns enhance its readability.

Summary of the Story:

When the story begins, the narrator describes about his five - year old daughter Mini. Mini was a chatty girl by nature. It took her about a year after being born to acquire the talent for language and since then she had not wasted a single wakeful moment of her life remaining silent. She was always bursting with questions. Mini's mother was often annoyed with her endless talk. But her father liked this habit of her daughter. She was a curious child and posed embarrassing questions at times. One day when the narrator had just started writing the seventeenth chapter of his novel , Mini walked into the room and told him that their sentry did not even know how to pronounce the word “crow”. She called sentry backward. Before he could begin to enlighten her on the differences between languages, she launched into another topic. She told the narrator that Bhola was saying that when elephants lifted water with their trunks and sprayed it from the sky, it rained. Without waiting for the narrator's opinion, she asked him, “Dad, who is Mum to you?” Instead of replying her, the narrator asked her to go and play with Bhola. She flopped beside the writing table close to his feet and began to play a game of knick - knack with her hands and knees, rapidly chanting a nursery rhyme.

One morning, the narrator was busy writing his new novel. Mini was playing game. She stopped her game abruptly and run to the window, shouting “Kabuliwala, O Kabuliwala!” A tall, shabbily dressed Afghan street vendor, with a turban on his head, a bag over his shoulder and a few boxes of dry grapes in his hand was passing through the street slowly. The narrator had no idea what flashed through his daughter's mind at the sight of this man, but the moment she saw him she began yelling. But the moment the Kabuliwala, on hearing Mini's call, turned around with a smile and approached the house. She dashed inside. She was overwhelmed with fright. She believed that inside his huge bag were two or three children like her.

The Kabuliwala entered the narrator's doorway and greeted him with a smile and an Islamic salute. The narrator bought a few items and soon he was involved in a rambling conversation with him on various topics including Abdur Rahman, the Emir of Afghanistan and the Frontier Policy of the Russians and the British. As the Kabuliwala was about to leave, he asked about the little girl. The narrator called her daughter from inside the house. She came and stood nervously, pressing against the narrator's body, and looking suspiciously at the Kabuliwala and his bag. The Kabuliwala took out some raisins and apricots from inside the bag and gave it to Mini, but she refused to take them and remained pressed against my knee with a redoubled suspicion.

A few days later, when the narrator was leaving the house in the morning for some important work, he saw his little daughter sitting on the bench next to the door and speaking non - stop with the Kabuliwala. In her short five - year life, Mini had never found a more intent listener before other than her father. The narrator also noticed that she had lots of nuts and raisins tied up at the loose end of her small sari. He asked the Kabuliwala why he gave all these to her and requested not to do it again. He took out a half - a - rupee coin and gave it to him. The Kabuliwala took the money without any hesitation and put it in his bag. When the narrator returned home, he saw that there was a row over that half - a - rupee coin. The Kabuliwala had given it to Mini. When Mini's mother saw it, she was really annoyed that her daughter had accepted the money given by a stranger. The narrator stepped in to rescue Mini and took her out for a walk.

Soon, the narrator found that there was an intense friendship between the Kabuliwala and Mini. The two friends had a few stock phrases and jokes which were repeated in their conversations. For instance, the moment she saw Rahamat, Mini would ask with a hearty laugh, “Kabuliwala, O Kabuliwala, what is in your “sack?” Adding an unnecessary nasal tone to the word, Rahamat would roar, “Hanti”. The essence of the joke was that the man had an elephant in his sack. Not that the joke was very witty, but it caused the two friends to double up in laughter, and the sight of that innocent joy between a little girl and a grown up man an autumn morning used to move the narrator deeply. Another routine exchange between the two was whenever they met, Rahamat would tell the girl, “Missy, you should never go to the in - laws.” Mini would not understand its meaning but would laugh. She would ask the Kabuliwala if he would go there. Then the man would shake his huge fist at an imaginary father - in - law and say that he would thrash him. Thinking of the plight of the unknown creature called father - in - law, Mini would explode into laughter.

Mini's mother was naturally a timid person. She was quite sceptical. Whenever she heard a slight noise from the street, she thought all the tipplers of the world were rushing together towards their house. After living so many years in this world (though not many), she had still not been able to temper her fear that the world was full of all kinds of horrors: thieves, robbers, drunkards, snakes, tigers, malaria, cockroaches and European soldiers. She thought that all they were waiting for an opportunity to harm her family. She was not free of suspicion about the Kabuliwala, Rahamat. She was always alarmed at the Kabuliwala's presence in the house and his friendship with her little daughter.

Every year, in the month of January or February Rahamat, the Kabuliwala would go back to his home country to visit his family. Before leaving for his home country, he would collect all his debts so that he had enough funds with him as he went back home. One morning, the narrator was sitting in his room and reading some proofs. It was the end of winter, but for the last few days before the season came to a close, the temperature was freezing and almost unbearable. He was enjoying the warmth of a strip of morning sun that had alighted on his feet under the table travelling through the glass window. Just then the narrator heard some commotion in the street. As he looked out, he found that Rahamat was being led away by two policemen. There were marks of blood on Rahamat's clothes and a policeman was carrying a blood - stained knife. When the narrator enquired about the matter, he learnt that one of his neighbours owed Rahamat some money for a Rampuri Shawl and when the man denied his debt, an argument broke out between them. In the heat of argument Rahamat took out a knife and stabbed the man. Rahamat was charged murderous assault and sentenced to eight years’ imprisonment.

With the passage of time, everyone forgot the Kabuliwala. No one tried to know how this free - spirited man from the mountains was spending his years within the secluded walls of the jail. Mini easily forgot her old friend and found a new one in Nabi. Then, as she continued to grow up, she replaced all her elderly male friends one after another with girls of her own age. Many years rolled. It was autumn again. Mini's wedding match had been fixed. She was to get married during the puja holidays. It was a sunny, resplendent morning. The rain washed sun of early autumn took the hue of pure gold. The wedding music had started playing in the house since dawn. There was a lot of hubbub in the house since visitors were continually loitering in and out. The narrator was going through the wedding accounts in his study, when suddenly Rahamat walked into the room and stood before him with a salaam. At first, the narrator could not recognise him. He did not have that customary sack with him, or the long hair and his burly look. Finally, he recognised him through his smile. When the narrator enquired about his whereabouts, he replied that he was released from jail only the previous evening.

The narrator wished he would leave the house immediately on this auspicious day. The narrator told him that they had a wedding in the house today and he was quite busy. It was better for him to go then. At that he began to leave the house, but as he reached the door, he turned back in hesitation and asked in a faltering tone if he could see Mini. Perhaps he was convinced that Mini was still the same little girl and would come out of the house running to greet him, “Kabuliwala, O Kabuliwala,” as in the past. Remembering their past friendship, he had even brought a box of grapes and a few raisins wrapped in a packet, which he must have borrowed from some Afghan friend. The narrator told him to leave, this time a little strictly. Rahamat became disappointed. He went out, but returned again and gave the narrator a few things, which he had brought for Mini. The narrator took the fruits from him and was about to pay some money when the latter caught his hand and told him not to give him any money. Then, Rahamat shoved his hand inside his huge baggy shirt and brought out a grimy piece of paper from somewhere close to his chest. Unfolding it very carefully, he laid the paper open on the table. The narrator could see the impression of a very small hand on it. It was not a photograph, not a painting, but the trace of a tiny hand created with burnt charcoal daubed on the palm. Every year Rahamat came to peddle merchandise on the streets of Kolkata carrying that memorabilia of his daughter in his pocket, as if the soft touch of that little hand kept his huge, lovely heart fed with love and happiness.

On seeing that piece of paper, the narrator's eyes were full of tears. It no longer mattered to him that he was an ordinary fruit peddlar from Kabul and the narrator belonged to an aristocratic Bengali family. In a moment the narrator realised that they were both just the same. The narrator was a father and so was he. The print of his mountain - dwelling daughter's hand reminded him of his own Mini. He was so moved by the poor father's plight that he had tears in his eyes. He sent for Mini, who entered his room, dressed as a bride. She stood beside the narrator coyly. On seeing Mini, the Kabuliwala became confused. Their good - natured humour of old also did not work out. In the end, with a smile, he asked her if she was going to the in law's house. Mini now understood what in - law meant. So she could not answer the way she did in the past. Rather, hearing the question from Rahamat, her face became purple in shame and she abruptly turned around and left. This brought back memories of their first meeting and the narrator felt an ache in his heart. It became obvious to Rahamat that his own daughter had grown up as well and he would have to get to know her all over again. She would not be the same girl he had left behind. He was not even sure what might have happened to her in the past eight years. The narrator took out some money and gave it to him. The narrator asked Rahamat to go back to his daughter in Afghanistan. The narrator helped Rahamat with the money from Mini's wedding budget. But the narrator was happy to make this little contribution by helping Rahamat. He wanted that Rahamat should meet his daughter after a long time.

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The Kabuliwala Summary | Rabindranath Tagore

“Kabuliwala” by Tagore is a tale of heart-rending friendship between a 5-year-old Bengali girl Minnie and an Afghan moneylender, Abdur Rahman or Rahamat. The story beautifully ties a bond of mutual affection and the unconventional relationship between the two.

Table of Contents

Inception of an Odd Friendship

One day she called him from the window of her house. But as he approached closer she got startled and ran back inside. Minnie’s father talked to Rahmat and learned about his family in Kabul.

As their friendship blossomed, Minnie and Rahmat started meeting and interacting every day. Rahmat narrated stories of his homeland to Minnie and the young girl happily returned the warmth with her own innocent tales and playfulness. Kabuliwala listened to the young girl with great intent and relish.

Misfortune Overtakes the Kabuliwala

However, the maidservant of Mini’s parents started filling the ears of Rama, Minnie’s mother regarding the Kabuliwala’s true intention. Soon, Minnie’s mother grew suspicious of this flourishing friendship and feared that Rahmat might even kidnap and sell her daughter. She also stopped paying Kabuliwala for his goods.

On the other hand, Kabuliwala’s woes magnified as he got arrested for stabbing a customer after getting involved in a scuffle. The tiff started due to non-payment of a Rampuri shawl that the Kabuliwala sold to the customer. The customer denied having ever bought the shawl and that caused Rahmat to lose his control.

During the trial, he confessed to killing the man even after being advised against it by his lawyer. The judge decided to reduce his punishment to 10-years imprisonment after being impressed by his honesty. After getting released several years later he went to see Minnie.

Return of a Friend

To his surprise, a lot had changed and the day he arrived was actually Minnie’s wedding day. But when Minnie’s father realized his presence, he asked Rahmat to leave the premises owing to his ill-fated and inauspicious absence.

Kabuliwala obliged but while leaving offered some raisins for Minnie.  He also showed a scruffy piece of paper with a handprint of his daughter that he left in Kabul.

Seeing that her father’s heart melted and he called Minnie. Mini was dressed and embellished like a bride but was too apprehensive to meet her long-forgotten friend.

Kabuliwala was taken aback to see a girl he could not recognize and struggled to cope with the reality of the time he lost while imprisoned. He was tormented by the thought of having lost his own daughter’s childhood. She would have been a grown woman like Minnie.

Minnie’s father understood his precarious condition and offered him enough money for a safe trip back to Kabul and a reunion with his own daughter. Even Minnie’s mother, realizing her misjudgment, extended the money she saved for Minnie’s wedding ceremony.

Key Lessons

The fundamental message of the story is that people have the ability to do good as well as bad to others. Often, it is easier to side with our fears and suspect someone who is not like us. It can be a different skin colour or a different language.

But if we are patient with people and try to understand their situations and problems then we can find some common ground. They go through the same emotions and conflicts as we do.

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• 'The Kabuliwallah' by Rabindranath Tagore

‘The Kabuliwallah’ by Rabindranath Tagore

My five-year-old daughter talked all the time. It had taken her a year after her birth to master the language, and since then she has not wasted a second of her waking hours in silence. Although her mother often hushed her, this was beyond me. A silent Mini was so unnatural a being that I could not bear it for long. So I always encouraged her to prattle on.

I had barely started the seventeenth chapter of my novel that morning when Mini appeared by my side and began chattering at once, ‘Ramdayal, the doorman, calls the crow kauwa instead of kaak, Baba, he just doesn’t know anything, does he?’

Before I could talk about linguistic diversity, she had moved to another subject. ‘Baba, Bhola says it rains because elephants spray water with their trunks from the sky. He talks such rubbish, my god. He keeps talking, talks all the time.’

Without pausing for my opinion, Mini suddenly asked, ‘What relation is Ma to you, Baba?’

‘Shaali,’ I answered to myself. To Mini I said, ‘Go play with Bhola, Mini. I’m busy.’

Flopping down by my feet, next to the desk, she began to play a game involving her knees and hands, accompanied by a rhyme uttered at express velocity. In the seventeenth chapter of my novel, Pratap Singh was about to leap with Kanchanmala in his arms from the high window of the prison into the river flowing below.

My room looked out on the street. Mini abruptly stopped her game to rush to the window and began to shout, ‘Kabuliwallah, Kabuliwallah.’

A tall Kabuliwallah—one of those hawkers of dry fruits who came all the way from Afghanistan to make a living in Calcutta—was walking slowly up the road, a turban on his head, a bag slung over his shoulder, holding two or three boxes of grapes. It was difficult to say what emotions he aroused in my daughter, but she continued to call out to him breathlessly. I was afraid that if the wily peddler, with a bag of things to sell, came into my room, I could bid goodbye to any prospect of finishing chapter seventeen that day.

The Kabuliwallah turned and smiled at Mini’s shouts and began walking towards our house. Her courage gave way and she ran from the room at great speed, vanishing into the house. She was convinced that if the Kabuliwallah’s bag was opened and examined it would reveal three or four children, just like her.

Meanwhile, the man himself appeared, offering me a smiling salute. Although Pratap Singh and Kanchanmala were in dire straits, I reflected that it would be discourteous to invite him into the house and buy nothing.

I bought a few things and we began chatting. We exchanged notes on frontier policies involving Abdur Rahman, the Russians and the English.

When he was about to leave, the Kabuliwallah finally asked, ‘Where did your daughter go, Babu?’

I sent for Mini in order to dispel her fears. Pressing herself to me, Mini cast suspicious glances at the Kabuliwallah and his large bag. He offered her some raisins and dry fruit, but she simply wouldn’t accept them, holding my knee tightly. And there the first meeting between them ended.

A few days later, about to leave the house on an errand, I discovered my daughter seated on the bench next to the front door, chattering away to the Kabuliwallah who sat at her feet, listening smilingly, and occasionally saying something in broken Bengali. Mini had never encountered such an attentive listener in the five years of her life besides her father. I even found nuts and raisins bundled into the aanchal of her tiny sari. ‘Why have you given her all this?’ I asked the Kabuliwallah. ‘Don’t do it again.’ Taking an eight-anna coin out of my pocket, I handed it to him. He accepted it without demur, putting it in his bag.

I returned home to find the eight-anna coin at the heart of a hundred rupees worth of trouble.

Holding a circular, silvery object in her hand, Mini’s mother was asking her daughter disapprovingly, ‘Where did you get this?’

‘The Kabuliwallah gave it to me,’ Mini told her.

‘Why did you have to take it from him?’ Mini’s mother inquired.

‘I didn’t want to, he gave it on his own,’ Mini said, on the verge of tears.

I rescued Mini from imminent danger and took her outside.

There I learnt that it wasn’t as though this was only Mini’s second meeting with Rahmat, the Kabuliwallah. He had been coming to see her almost every day, bribing her with almonds and raisins to conquer her tiny, greedy five-year-old heart.

I observed that the two friends had established an easy familiarity between themselves, sharing private jokes and quips. For instance, on spotting Rahmat, my daughter would ask, laughing, ‘What’s in that bag of yours, Kabuliwallah?’

In an exaggeratedly nasal tone Rahmat would answer, also laughing, ‘An elephant.’

The joke could not be termed particularly subtle, but nevertheless it kept both in splits—and the artless laughter of a middle-aged man and a child on an autumn morning brought me some joy too.

They had another ritual exchange. Rahmat would tell Mini, ‘Khnokhi, tomi sasurbaari kakhanu jaabena. Little girl, you must never get married and go to your father-in-law’s house.’

Most girls from traditional Bengali families would be familiar with the word shoshurbaari almost from the time they were born, but because we were somewhat modern, we hadn’t taught our daughter the meaning of the term. So, she did not know what to make of Rahmat’s request, but because it was against her nature to be silent and unresponsive, she would fire a counter-question. ‘Will you go there?’

Rahmat would brandish his enormous fist against an imaginary father-in-law, and say, ‘I will kill the sasur first.’

Imagining the terrible fate awaiting this unknown creature, Mini would laugh her head off. *

It was the clear season of autumn. In ancient times, this was when kings set off to conquer other lands. I had never been anywhere outside Calcutta, but precisely for that reason my mind wandered all over the world. In the quiet corner of my room, I was like an eternal traveller, pining for places around the globe. My heart began to race as soon as another country was mentioned, the sight of a foreigner conjured up a vision of a cottage amidst rivers and mountains and forests, and thoughts of a joyful, free way of life captured my imagination.

But I was so retiring by nature that the very notion of abandoning my corner and stepping out into the world made me have visions of the sky crashing down on my head. That was why my conversations with this man from Kabul, this Kabuliwallah, every morning by the desk in my tiny room served the purpose of travel for me. Rugged and inaccessible, the scorched, red-hued mountain ranges rose high on either side of the road, a laden caravan of camels winding along the narrow trail between them; turbanned traders and travellers, some of them on the backs of camels, some on foot, some with spears, others with old-fashioned flint guns…with a voice like the rumbling of clouds, the Kabuliwallah would recount tales from his homeland in broken Bengali, and these images would float past my eyes.

Mini’s mother was perpetually jumpy, her mind alive with imaginary fears. The slightest noise on the streets would lead her to believe that all the inebriated individuals in the world were rushing towards our house, bent on making mischief. Despite all the years (not too many actually), she had lived on earth, she had still not rid herself of the conviction that the universe was populated only by thieves and robbers and drunkards and snakes and tigers and malaria and earthworms and cockroaches and white men all intent on striking terror into her heart.

She was not entirely free of doubt about Rahmat, the Kabuliwallah, requesting me repeatedly to keep an eye on him. When I attempted to laugh away her suspicions, she would ask me probing questions. ‘Aren’t children ever kidnapped? Don’t they have slaves in Afghanistan? Is it entirely impossible for a gigantic Kabuliwallah to kidnap a small child?’

I had to acknowledge that it was not entirely impossible but unlikely. The capacity for trust was not the same in everyone, which was why my wife remained suspicious of the Kabuliwallah. But I could not stop Rahmat from visiting our house for no fault of his.

Rahmat usually went home around the end of January every year. He would be very busy collecting his dues at this time. He had to go from house to house, but still he made it a point to visit Mini once a day. There did seem to be a conspiracy between them. If he could not visit in the morning, he made his way to our house in the evening. It was true that I experienced a sudden surge of fear at the sight of the large man in his loose shalwar and kurta, standing in a dark corner of the room with his bags. But when a laughing Mini ran up to him, saying, ‘Kabuliwallah, Kabuliwallah,’ and the simple banter of old was resumed between the two friends of unequal age, my heart was filled with delight once more.

* I was correcting proofs one day in my tiny room. The cold had grown sharper; as winter was about to bid farewell, there was a severe chill. The morning sunshine filtering through the window warmed my feet; it was a most pleasant sensation. It was about eight o’clock—most of those who had ventured out for their morning constitutionals, their heads and throats wrapped in mufflers, were already back home. Suddenly, there was an uproar in the street.

Looking out of the window I saw two policemen frogmarching our Rahmat, bound with ropes, up the road, followed by a group of curious urchins. Rahmat’s clothes were bloodstained, and one of the policemen held a dagger dripping with blood. Going out, I stopped the policemen to inquire what the matter was.

The story was related partly by a policeman and partly by Rahmat himself. One of our neighbours owed Rahmat some money for a shawl from Rampur. When he disclaimed the debt, an altercation broke out, in the course of which Rahmat had stabbed him with his dagger.

The Kabuliwallah was showering expletives on the liar when Mini emerged from the house, calling out, ‘Kabuliwallah, Kabuliwallah.’

Rahmat’s expression changed in an instant to a cheerful smile. Since there was no bag slung from his shoulder today, they could not have their usual discussion about its magical contents. Mini asked him directly, ‘Will you go to your father-in-law’s house?’

‘That’s exactly where I am going,’ Rahmat smiled back at her.

When he saw Mini wasn’t amused, he showed her his arms bound with rope. ‘I would have killed the sasur, but my hands are tied.’

Rahmat was in jail for several years for causing grievous bodily harm.

We forgot him, more or less. Going about our everyday routines it didn’t even occur to us how difficult it must be for a man used to roaming free in the mountains to cope with years of imprisonment.

Even Mini’s father had to accept that his fickle-hearted daughter’s behaviour was truly shameful. She effortlessly forgot her old friend, and struck up a new friendship with Nabi, who groomed horses.

Then, as she grew older, male friends were replaced by girls her age. Now, we seldom saw each other anymore.

Many years passed. Another autumn arrived. My Mini’s wedding had been arranged. She would be married during the Durga Puja holidays. Along with the goddess from Kailash, the joy of my house would also depart for her husband’s home, robbing her father’s house of its light.

A beautiful morning had dawned. After the monsoon, the freshly rinsed autumn sunlight had taken on the colour of pure, molten gold. Its glow washed over the crumbling houses of exposed brick in the neighbourhood, making them exquisitely beautiful.

The shehnai had begun playing in my house before the night had ended. Its notes were like the sound of my heart weeping. The plaintive melody of Bhairavi was spreading the imminent pain of parting all over the world. My Mini was to be married today.

There had been a great to-do since the morning, with crowds of people going in and out of the house. In the courtyard a marquee was being set up with bamboo posts; the clinking of chandeliers being hung up in the rooms and the veranda could be heard. It was very noisy.

I was going over the accounts in my room when Rahmat appeared and saluted me.

I did not recognize him at first. He had neither his bags nor his long hair—his body was not as strapping as it once used to be. It was his smile that eventually told me who he was.

‘Why, it’s Rahmat,’ I said. ‘When did you get back?’

‘I was released from jail yesterday evening,’ he answered.

His reply made me uncomfortable. Until now, I had never seen a murderer in the flesh, his presence here made me shrink back. On this auspicious day, I wished he would go away.

I told him, ‘There’s something important going on at home, I am busy. You’d better go today.’

At this he made ready to leave at once, but when he had reached the door, he said hesitantly, ‘Can’t I meet Khnokhi?’

He probably thought that Mini had not changed. Perhaps he expected her to come running up as before, chanting, ‘Kabuliwallah, Kabuliwallah,’ as she always had. To honour the old friendship he had even gone to the trouble of collecting a box of grapes and some nuts and raisins wrapped in paper from a fellow Afghan as he no longer had his own sack of goods to sell.

‘There are some ceremonies at home today,’ I told him, ‘meeting Mini is impossible.’ He looked very disappointed. He looked at me wordlessly for a few moments, then said, ‘Salaam, Babu,’ and left.

No sooner had he left than I felt bad and was considering calling him back when I found him returning of his own accord.

Coming up to me, he said, ‘I have some grapes and nuts and raisins for Khnokhi, please give them to her.’

As I was about to pay for them, he caught hold of my hand firmly and said, ‘Please don’t pay me. You have always been so kind, I will never forget your kindness…

‘I have a daughter back home just like yours, Babu. It was thinking of her that I brought some fruit for Khnokhi, this isn’t business.’

Putting his hand inside his long, loose shalwar, he pulled out a dirty piece of paper. Unfolding it carefully, he spread it out on my desk for me. It had the print of a tiny pair of hands. Not a photograph, not an oil painting, just some lampblack smeared on the palms to make a print on paper. Rahmat travelled to Calcutta’s streets every year to sell his dry fruits, holding this remembrance of his daughter close to his breast—as though the touch of those tiny tender hands comforted the heart inside his broad chest, a heart wracked by the pain of separation.

Tears sprang to my eyes. I forgot that he was a seller of dry fruits from Kabul and I, a member of a Kulin Bengali family. I realized that he was a father, just as I was. The handprint of his little Parbat from his home in the mountains reminded me of Mini.

I sent for my daughter at once. They raised objections in the ladies’ chambers, but I paid no attention. Mini appeared shyly in my room, dressed as a bride in her red wedding garb.

The Kabuliwallah was taken aback when he saw her. Unable to revive their old banter, he said nothing for a while. Finally, he said with a smile, ‘Khnokhi, tomi sasurbaari jaabis?’

Mini knew now what the words meant, she could not respond as before. Blushing at Rahmat’s question, she stood with her face averted. I remembered the day Mini and the Kabuliwallah had met for the first time, and felt a twinge of sadness.

After Mini left, Rahmat slumped to the floor with a sigh. He had suddenly realized that his own daughter must have grown up and that he would have to get to know her all over again—she would no longer be the way he remembered her. Who knew what might have happened to her over these past eight years? The shehnai kept playing in the calming sunlight of the autumn morning, but inside a house in a Calcutta lane all that Rahmat could see were the mountains and cold deserts of Afghanistan.

I gave him some money. ‘Go back home to your daughter, Rahmat,’ I told him. ‘Let the happiness of your reunion with her be a blessing for my Mini.’

Giving Rahmat the money meant pruning one or two things from the celebrations. The electric lights display was not as lavish as I had wanted it to be, nor were the musical arrangements as elaborate as planned. The ladies as usual objected strongly but, for me, the festivities were brightened by the benediction of a father’s love.

Translated by Arunava Sinha for ‘The Greatest Bengali Stories Ever Told’

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Summary and Questions Answers of Kabuliwala by Robindranath Tagore

Table of Contents

Kabuliwala by Rabindranath Tagore

Kabuliwala is a subtle exploration of the links of friendship, affection, and separation in the relationship between a middle-aged Pathan trader and a five-year-old Bengali child. The story is set in early twentieth-century Kolkata. It is a simple storey about a father’s love for his daughter and how that love is passed on to another young girl. It is a love that knows no bounds in terms of race, religion, or language.

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Summary of Kabuliwala

Mini, a five-year-old girl, and Rahamat, a dried fruit vendor in Kabul, are the central characters in the “Kabuliwala” storey. Mini is talkative and innocent, calm, and gives his load of nuts to someone who has been suspended. Kabuliwala patiently listens to Mini. Mini’s father is friends with the young man, and he loves it when he sees him laughing at Mini and talking to him about life in Afghanistan and what he has seen on his travels among the Kabuliwala fruit sellers.

Because of the narrator, the pastor invites a Ramat (dry fruit) trader from Kabul to a wedding interview with an innocent Mini, and the Kabuliwala reunites with his daughter and has a happy life in Kabul. Tagore’s short “Kabuliwala” storey, from a collection of Tagore stories, is recounted by the father of an unknown man named Mini, and the reader knows he is reading a communication narrative by reading Tagore.

Mini, a five-year-old girl from Kabul who is a suspended fruit seller, and Kabuliwala, a man who deals with Calcutta’s past, are the primary characters in the novel. Mini is the narrator of this narrative and is a sweet and talkative girl who falls in love with her Babuji. Mini’s father, who is five years old, tells the storey “Kabuliwala”

When Mini’s father learns of Kabuliwala’s hardship, he offers her enough money to visit her daughter in Kabul. Kabuliwali pays one rupee to her daughter for each dried fruit she provides her for free. Kabuliwala’s father begins a pleasant relationship with Mini after learning about him, and they meet every day.

The narrative begins with a teacher chatting to his five-year-old daughter Mini, who has spent years learning to speak and was born prematurely and has never stopped speaking since. Mini’s mother encourages her to quiet down, but her father allows her to express herself and converses with her.

In this short storey about the friendship between a five-year-old girl named Mini, a member of the Calcutta royal family, and an Afghan fruit seller in Kabul, Rabindranath Tagore (1861-1941) can be found. Tagore was the first non-European to win the Nobel Prize for Literature in 1913, and was considered one of the most important literary figures. This is the twentieth century. Despite being written in the first person, “Cabuliwallah” is a storey presented from the perspective of Mini’s father. Tagore reminds us that they are both fathers, and that a first-person description of a man with a grieving daughter whom he has not seen in years aids him in seeing her as a person rather than a killer.

Questions and Answers  of Kabuliwala

Question 1 : Read the extract given below and answer the questions that follow.

“Stopping her game abruptly Mini ran to the window which overlooked the main road, and began calling out at the top of her voice, “Kabuliwala, O Kabuliwala!”

ii) What was Mini doing before the game?

Answer : Mini sat with her father before going outside to play. She was questioning him, but he was too preoccupied with his work. Mini was sent to play with Bhola, so he told her to go. She got down next to his writing desk and began playing knick-knacks.

iv) What did Mini do when the Kabuliwala approached the house?

Answer : Mini immediately paused her gaming and shouted out to the Kabuliwala. He walked up to the home. Mini, on the other hand, raced inside and was nowhere to be found. The Kabuliwala and his sack frightened her.

Question 2 : Read the extract given below and answer the questions that follow.

“The Kabuliwala saw Mini and became confused; their good-natured humour of old also didn’t work out. In the end, with a smile, he asked, ‘Girl, are you going to the in-law’s house?’ ”

ii) Why was the Kabuliwala confused?

Answer : The Kabuliwala had been sent to jail for causing grievous injury to a man. He had a customer in the narrator’s colony who denied paying his debt for a shawl. Things got nasty and Rahamat had stabbed the man in the heat of the moment.

Answer : Rahamat was a native of Afghanistan. He came to Kolkata for business. He had a daughter like Mini back home. He longed to be with her. He saw his daughter’s reflections in Mini and hence got attached to her very much.

v) How did Mini react to his question? How would she earlier react to his question?

Answer : Mini was five years old when she first encountered Rahamat. She was a very talkative child, and even her father did not always have ears for her. The narrator was working one day when Mini began to pester him with questions. He advised her to seek entertainment elsewhere. She was engaged in a game when Kabuliwala arrived. She dashed towards the window and yelled at him. However, when he smiled as he approached the house, she raced inside and was no longer visible. She was terrified as a child that he would kidnap children.

The narrator discovered that this was not their second encounter. They had been meeting on a near-daily basis. Rahamat won the child’s heart. They also kept a few of their personal gags on hand. Then something happened in their brief friendship. Rahamat was charged with causing grievous bodily harm to his customer and sentenced to several years in prison.

That was their final encounter. Rahamat slouched on the floor, heaving a long, deep sigh as he realised his own daughter back home in Afghanistan had grown up to be just like Mini. He always carried a small impression of her with him. He was so devoted to Mini that he saw a reflection of his own small daughter in her.

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Kabuliwala Kindle Edition

• Print length 45 pages
• Language English
• Sticky notes On Kindle Scribe
• Publication date February 19, 2014
• File size 35279 KB
• Page Flip Enabled
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Product details

• ASIN ‏ : ‎ B00IJZJBG2
• Publisher ‏ : ‎ Versilio/The Adaptation Company (February 19, 2014)
• Publication date ‏ : ‎ February 19, 2014
• Language ‏ : ‎ English
• File size ‏ : ‎ 35279 KB
• Text-to-Speech ‏ : ‎ Enabled
• Screen Reader ‏ : ‎ Supported
• Enhanced typesetting ‏ : ‎ Enabled
• X-Ray ‏ : ‎ Not Enabled
• Word Wise ‏ : ‎ Enabled
• Sticky notes ‏ : ‎ On Kindle Scribe
• Print length ‏ : ‎ 45 pages

About the author

Rabindranath tagore.

Rabindranath Tagore was a Nobel Laureate for Literature (1913) as well as one of India’s greatest poets and the composer of independent India’s national anthem, as well as that of Bangladesh. He wrote successfully in all literary genres, but was first and foremost a poet, publishing more than 50 volumes of poetry. He was a Bengali writer who was born in Calcutta and later traveled around the world. He was knighted in 1915, but gave up his knighthood after the massacre of demonstrators in India in 1919.

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Rabindranath Tagore

Ask LitCharts AI: The answer to your questions

Perhaps the most powerful element of “ Kabuliwallah ” is the way Tagore portrays the human connection as it transcends social class, time, age, and culture. In the beginning of the story, the unnamed narrator describes the close relationship he has with his five-year-old little daughter named Mini . Mini is friendly and quickly makes friends with an Afghan Kabuliwallah (a peddler) named Rahamat . When Rahamat is sent to jail for stabbing a customer…

Fatherly Love

Love, specifically fatherly love, is one of the central threads of “ Kabuliwallah. ” The narrator of the story has one child: a precocious five-year-old daughter named Mini who “ can ’ t stop talking for a minute ” and frequently visits him in his study to talk and hide from her impatient mother . The narrator is touched by the liking that a local Kabuliwallah (fruit-seller) named Rahamat takes to Mini, and he enjoys…

Curiosity and Growing Up

One of the characteristics that the narrator and Mini share is their curiosity about the world. They both have a thirst for knowledge and an openness to new experiences, but in their little Calcutta neighborhood, they are stuck in a domestic routine with few opportunities to explore something new. This changes when Mini spots Rahamat , a Kabuliwallah selling fruit in the neighborhood, and calls out to him. The unlikely pair become fast friends. As…

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Nationalism in India by Rabindranath Tagore

• Updated on  
• Aug 16, 2024

Nationalism in India by Rabindranath Tagore: Rabindranath Tagore was a genius, a solid nationalist, and most importantly, an unquestionable humanist who has inspired generations of mindful and compassionate thinkers, regardless of their race, religion, or language, as well as national and state boundaries. Over the course of six decades, Tagore’s creative and artistic nature has been nothing more than a reflection of his abilities as a keen artist, compassionate man of letters, profound thinker, and calculated experimenter. Even now, his views on nationalism, especially in the context of India, remain relevant. The ideas of Tagore, as expressed in his writings and speeches, provide a unique point of view that challenges the accepted definition of nationalism. This article will take you through the ideas and viewpoints of nationalism in India by Rabindranath Tagore.

Table of Contents

• 1 What is Nationalism According to Rabindranath Tagore?
• 2 Tagore’s Analysis of Nationalism
• 3 Nationalism vs. Humanism
• 4 Freedom of Mind
• 5 Tagore’s Vision for India

What is Nationalism According to Rabindranath Tagore?

According to Tagore, “the political and economic union of a people, is that aspect which a whole population assumes when organized for a mechanical purpose,” is what nationalism is (Tagore, 1917, p. 4). 

• Tagore expressed strong criticism of the concept of nationalism right from the start. 
• To him, nationalism was not just an ideology introduced by the West but also an organization based on greed, profit maximization, and the brutal execution of science, with the ultimate goal being the robots of life without the human spirit and nature. 
• He claimed that nationalism, which makes a nation feel threatened by the development of another, is the root of violent foreign policy.
• It is the basis of all deaths, the destruction of the human mind, and the division that modern societies engage in. Tagore claimed that the ideology of destruction originated with the West. 
• In the meantime, he reminded people not to mistake him for the other nationalism believers in India who, in their hatred of the British Government, engaged in acts similar to xenophobia (such as burning foreign clothing).
• He strongly justified the ideal of the kind of person who is compassionate, loving, and, most importantly, who is a universal person who does not hold rivalry towards other people.
• He never wanted profit maximization to be the end and the major goal of humanity. 

Also Read: 11 Famous Books by Rabindranath Tagore

Tagore’s Analysis of Nationalism

Tagore had a deeply spiritual and philosophical viewpoint towards nationalism. He was very concerned about the rise of nationalism in Europe, especially because of its emphasis on dominance and power. He believed that nationalism frequently caused division rather than unity, which resulted in disputes, wars, and the loss of one’s freedom.

Tagore was particularly outspoken about India’s careless adaptation of Western ideas of nationalism. India’s spiritual legacy, which emphasized unity in diversity and the celebration of differences, were, in his opinion, what made the country strong. Tagore believed that India’s diverse society would suffer if nationalism was to be imposed in a strict, uniform way.

Nationalism vs. Humanism

Tagore’s focus on the value of humanism over nationalism is one of his most important contributions to the discussion of nationalism. He said that love for one’s nation shouldn’t develop hatred towards other people. True patriotism, in Tagore’s view, was about promoting a sense of international brotherhood rather than aggressive pride or superiority.

Also Read: Education of Rabindranath Tagore: Early Life and Work

Freedom of Mind

Tagore believed that mental freedom was far more important than political freedom. Political freedom is now viewed as the ultimate goal of the freedom movement in our nation due to European-focused conceptions of freedom. 

• The desire for ownership will grow as a result of one’s blind faith in Europe. 
• As a result, we ought to let go of this narrowness and become more expansive in our internal and external manifestations of mental freedom. 
• In the end, this mental freedom finds balance with the human soul and life in general. Additionally, he held the view that there is only one history, the history of man, and that all other histories are only parts of this greater one.  
• Nations that show love, compassion, and spiritual collaboration can establish a lasting presence in any era.
• Nationalism, whether Indian or otherwise, is nothing more than the combination of unified social goods and ideals. It ought to be manageable progress that starts from the inside.  

Tagore’s Vision for India

Tagore’s vision for India was closely linked to his idea of nationalism. He saw an India freed not only from colonial domination but also from the limitations of narrow-minded nationalism. With nationalism rooted in its rich cultural and spiritual traditions, equality, and compassion, Tagore saw an India that would set an example for the world. Instead of idly copying Western culture, Tagore urged Indians to accept their own identity and traditions. Rather than just fighting for political freedom, Tagore’s nationalism focused on spiritual awakening and self-realization. He thought that the values of morality, truth, and non-violence needed to serve as the basis of India’s freedom movement.

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Tagore noticed how the concept of nationalism can damage India’s rich cultural diversity and cause division between people. He supported nationalism that was based on cultural and spiritual principles.

He gave importance to humanism rather than nationalism, focusing on moral and spiritual growth. 

Yes, because Tagore’s ideas offer a humanistic, beneficial approach to nationalism, they are still relevant today.

This was all about the “ Nationalism in India by Rabindranath Tagore” . For more such informative blogs, check out our UPSC Exams Section and Study Material Section , or you can learn more about us by visiting our   Indian exams page.

Agrima Didwania

Passion turned profession perfectly defines me. With an affection for writing, I've transformed my zeal into a fulfilling career where each word I craft, amazes me. Writing isn't just a skill; it's my lifeline, allowing me to heal and forge deeper connections with others. The journey of words is something that keeps me alive.

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