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GHARE-BAIRE, a novel by Rabindranath Tagore (Bangla classic ebook Book 1)

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The Home and the World is set during the height of the Swadeshi movement, a boycott of British goods that was initiated in 1905 as a protest against Great Britain’s arbitrary division of Bengal into two parts. At first, Tagore was one of the leaders of Swadeshi, but when protests evolved into violent conflicts between Muslims and Hindus, Tagore left the movement. In The Ho The Home and the World is set during the height of the Swadeshi movement, a boycott of British goods that was initiated in 1905 as a protest against Great Britain’s arbitrary division of Bengal into two parts. At first, Tagore was one of the leaders of Swadeshi, but when protests evolved into violent conflicts between Muslims and Hindus, Tagore left the movement. In The Home and the World, he explained why he did not approve of what Swadeshi had become. The novel consists of twenty-three chapters, each of them a first-person narrative by one of the three major characters. The first and the last chapters are both labeled “Bimala’s Story,” thus emphasizing the fact that the young wife Bimala is the pivotal character in what is superficially a love triangle but, more profoundly, is a conflict between two points of view, one good, the other evil. The other two narrators are Nikhil, Bimala’s husband, a wealthy landowner with Enlightenment views and a benevolent nature, and Sandip, a charismatic but completely unscrupulous Swadeshi leader.


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The Home and the World is set during the height of the Swadeshi movement, a boycott of British goods that was initiated in 1905 as a protest against Great Britain’s arbitrary division of Bengal into two parts. At first, Tagore was one of the leaders of Swadeshi, but when protests evolved into violent conflicts between Muslims and Hindus, Tagore left the movement. In The Ho The Home and the World is set during the height of the Swadeshi movement, a boycott of British goods that was initiated in 1905 as a protest against Great Britain’s arbitrary division of Bengal into two parts. At first, Tagore was one of the leaders of Swadeshi, but when protests evolved into violent conflicts between Muslims and Hindus, Tagore left the movement. In The Home and the World, he explained why he did not approve of what Swadeshi had become. The novel consists of twenty-three chapters, each of them a first-person narrative by one of the three major characters. The first and the last chapters are both labeled “Bimala’s Story,” thus emphasizing the fact that the young wife Bimala is the pivotal character in what is superficially a love triangle but, more profoundly, is a conflict between two points of view, one good, the other evil. The other two narrators are Nikhil, Bimala’s husband, a wealthy landowner with Enlightenment views and a benevolent nature, and Sandip, a charismatic but completely unscrupulous Swadeshi leader.

30 review for GHARE-BAIRE, a novel by Rabindranath Tagore (Bangla classic ebook Book 1)

  1. 4 out of 5

    Ahmad Sharabiani

    ঘরে বাইরে = Ghôre Baire or Ghare Baire = The Home and the World, Rabindranath Tagore The Home and the World (in the original Bengali, ঘরে বাইরে Ghôre Baire or Ghare Baire, lit. "At home and outside") is a 1916 novel by Rabindranath Tagore. The book illustrates the battle Tagore had with himself, between the ideas of Western culture and revolution against the Western culture. These two ideas are portrayed in two of the main characters, Nikhil, who is rational and opposes violence, and Sandip, who ঘরে বাইরে = Ghôre Baire or Ghare Baire = The Home and the World, Rabindranath Tagore The Home and the World (in the original Bengali, ঘরে বাইরে Ghôre Baire or Ghare Baire, lit. "At home and outside") is a 1916 novel by Rabindranath Tagore. The book illustrates the battle Tagore had with himself, between the ideas of Western culture and revolution against the Western culture. These two ideas are portrayed in two of the main characters, Nikhil, who is rational and opposes violence, and Sandip, who will let nothing stand in his way from reaching his goals. These two opposing ideals are very important in understanding the history of the Bengal region and its contemporary problems. تاریخ نخستین خوانش: یازدهم ماه نوامبر سال 1989 میلادی عنوان: خانه و جهان؛ نویسنده: رابیندرانات تاگور؛ مترجم: زهری خانلری (کیا)؛ تهران، توسن، 1367، در 226 ص؛ چاپ دوم، 1386، شابک: 9643153150؛ موضوع: داستانهای نویسندگان هندی قرن 20 م داستان نخستین بار در سال 1915 میلادی منتشر شد، در سرزمین بنگاله رخ میدهد. داستان ‌از زبان سه راوی روایت میشود که در برابر يكديگر قرار میگیرند و باهم بگومگو میکنند. ساتیا جیت ‌رای کارگردان مشهور هندی فیلمی از این داستان ساخته است‌‌، با سال شمار زندگی و آثار رابیندرانات تاگور - شاعر و نویسنده هندی - آغاز، و در دوازده فصل، که همه حالت گزارش نویسی دارند ادامه مییابد. ا. شربیانی

  2. 4 out of 5

    Lori

    A 1916 novel by Rabindranath Tagore, the first non-European to win the Nobel Prize in Literature in 1913. Written in Bengali and translated into English in 1919 by the author’s nephew. I think of poetry as almost impossible to translate well, but the beauty of his language does come across. I'm glad that read Tagore. On one level, the story is a love triangle. It’s a shame that Bimala didn’t have a friend to talk her out of having anything to do with Sandip. She had that guy sized up before she e A 1916 novel by Rabindranath Tagore, the first non-European to win the Nobel Prize in Literature in 1913. Written in Bengali and translated into English in 1919 by the author’s nephew. I think of poetry as almost impossible to translate well, but the beauty of his language does come across. I'm glad that read Tagore. On one level, the story is a love triangle. It’s a shame that Bimala didn’t have a friend to talk her out of having anything to do with Sandip. She had that guy sized up before she ever met him. I had seen Sandip Badu’s photograph before. There was something in his features which I did not quite like. Not that he was bad-looking—far from it” he had a splendidly handsome face. Yet, I know not why, it seemed to me, in spite of all its brilliance, that too much of base alloy had gone into its making. The light in his eyes somehow did not shine true. That was why I did not like it when my husband unquestioningly gave in to all his demands. I could bear the waste of money; but it vexed me to think that he was imposing on my husband, taking advantage of friendship. His bearing was not that of an ascetic, nor even of a person of moderate means but foppish all over. Love of comfort seemed to…any number of such reflections come back to me today, but let them be. But no, her only confidant was her husband. And, well… There she is stealing from her loving husband because her boyfriend asked her to do so. It’s like a knife in her guilty heart when loyal household members bring their small treasures to protect from the thief. “I got these at your wedding,” said the milk-woman, while handing her a box with a Benares sari and some other valued things. On another level, this is a morality play about the Swadeshi movement for Indian independence. Husband, Nikhil is an educated, aristocratic landlord. He is nonviolent and politically moderate. He is too practical for revolutionaries to burn foreign products He is willing to import Indian made yarn to sell in his market, but to practical to boycott foreign imports. He is also, aware that independence should not mean isolation. Boyfriend, Sandip is a charismatic pro-independence professional revolution. He lobbies for the boycott of British goods and burning of western products. His instigations generate an awfully lot of violence for a non-violent movement. And, I couldn’t help but notice that he skivvied off when things went horribly wrong. Bimala is the colonized home country that they compete for. With that as a reference, Sandip thinks of Bimala as fruit to be taken. It is only too clear how she wants me, and so I look on her as quite legitimately mine. The fruit hangs on the branch by the stem, but that is no reason why the claim of the stem should be eternal. Ripe fruit cannot for ever swear by its slackening stem-hold. All its sweetness has been accumulated for me; to surrender itself to my hand is the reason of its existence, its very nature, its true morality. So I must pluck it, for it becomes me to make it futile. While devoted and caring husband, Nikhil encourages her to learn and to experience the world within the protection of their marriage. Bimala chooses the corrupting thief. She repents her choice and crime, but retribution falls. I can see why he won a prize from colonial Europe. There may be other levels, but those are the most obvious. There's a lot here for a slim little volume. I thought Kavita Daswani was exaggerating in For Matrimonial Purposes, but here it is again. Everyone considers Bimala ugly solely because she’s dark skinned.

  3. 5 out of 5

    Aishu Rehman

    Exceptionally remarkable! .brilliant, complex novel where the three characters take turns telling the story from their own point of view, beautiful political and moral parallel to the struggles and conflicts India underwent in the days of upheaval against the British Empire. Tagore is magnificent.

  4. 4 out of 5

    K.D. Absolutely

    Sir Rabindranath Tagore won the Nobel Prize for Literature in 1913. He was the first non-European and so far, the only Indian to be awarded this most prestigious award any literary artist can dream of. Bimala (means without mal or blemish in Hindu) is married to Nikhil or Nikhilesh (Lord of the Universe). Theirs is an arranged marriage that was planned even when Bimala was still a little girl. Bimala is neither good-looking, i.e., she comes from lower status and darker complexion, nor rich. Nikh Sir Rabindranath Tagore won the Nobel Prize for Literature in 1913. He was the first non-European and so far, the only Indian to be awarded this most prestigious award any literary artist can dream of. Bimala (means without mal or blemish in Hindu) is married to Nikhil or Nikhilesh (Lord of the Universe). Theirs is an arranged marriage that was planned even when Bimala was still a little girl. Bimala is neither good-looking, i.e., she comes from lower status and darker complexion, nor rich. Nikhil on the other hand, comes from a rich family, peace-loving and passive. Nikhil has a handsome, aggressive and charismatic friend, Sandip who is the leader of the Swadeshi movement. This movement was part of the many others, e.g., the non-violence movement of Mahatma Gandhi being the most famous, that comprised the India Independence Movement that strived to end the British rule in India in the early part of the 19th century. Bimala falls in love with Sandip for his zeal, ambition and sex appeal. Nikhil releases her but then she finds out Sandip’s true color. The book is composed of several chapters, each of them is narrated by either one of the three major characters that reminded me of William Faulkner’s The Sound and the Fury (1929) minus Benjy, its retardate character. Rather, the 3 narrators perfectly give their views on what’s going on around them, from what goes on inside their homes, within community and even in the nation as a whole. Like Salman Rushdie’s masterpiece Midnight’s Children (1981) this book, The Home and the World shows a detailed presentation of India during its fight for independence from British colonizers. However, if Rushdie was able to present the macro as well as the micro views of this fight for independence through the events that lead to a nation in turmoil and how his characters react to them , Tagore chose to focus on his characters’ own turmoil in relation to the changing environment and the opposing forces present in it: the new and old, realism and idealism, the means and the end, good and evil within India and Southern Asia. The narration is lyrical and personal. The plot is thin and simple yet plausible and full of meaning. You will have to stop once in a while to savor his thought-provoking phrases. My favorite aspect of the novel is the remarkable transformation of Bimala from a traditional woman to an awakened citizen who contributes to the movement. To give you examples of Tagore’s prose and to illustrate Bimala’s transformation, here are her descriptions of herself at the various points in the story: BEGINNING: (as a dutiful traditional wife) “I would cautiously and silently get up and take the dust of my husband’s feet without waking him, how at such moments I could feel the vermilion mark upon my forehead shining out like the morning star”. MIDDLE: (as a person supporting the movement) ” I was no longer the lady of the Rajah’s house, but the sole representative of Bengal’s womanhood .” END: (after being fooled by her lover) "I could not think of my house as separate from my country: I had robbed my house, I had robbed my country. For this sin my house had ceased to be mine, my country also was estranged from me" A couple of years ago, a smart GR friend commented that he hadn’t read an Indian novel, either set in India, written by Indian or Indian-American novelist, that did not have anything to do with poverty. Arundathi Roy’s The God of Small Things, Rohinton Mistry’s A Fine Balance or even Slumdog Millionaire by Vikas Swarup. They all revolve around the fact that there are problems because the protagonist(s) is poor. The Home and the World or GHARE BAIRE (when its movie adaptation was shown in Cannes 1988) centers on the ideological personal beliefs of the characters and poverty is not really the main or even the secondary issue. I am glad that I have read a Tagore. It changed my perspective on Indian novels and showed me a firmer grasp on what it took for the Indian people to gain their independence.

  5. 5 out of 5

    Sidharth Vardhan

    "I am willing to serve my country, but my worship I reserve for Right which is far greater than my country. To worship my country as a god is to bring a curse upon it.” "To tyrannize for the country is to tyrannize over the country” How much can present day ultra-nationalists learn from him! The infatuation of a married woman for her husband's friend aside, this book tries to bring out the pros and cons of then prevailing tools used by freedom fighters. Were those tools, emotionally attractive "I am willing to serve my country, but my worship I reserve for Right which is far greater than my country. To worship my country as a god is to bring a curse upon it.” "To tyrannize for the country is to tyrannize over the country” How much can present day ultra-nationalists learn from him! The infatuation of a married woman for her husband's friend aside, this book tries to bring out the pros and cons of then prevailing tools used by freedom fighters. Were those tools, emotionally attractive as they were, really effective? Who really bore the price for those satyagrahas? And most importantly, can a moment that includes mostly young volunteers be long expected to stay non-violent? Aren't some of them motivated by personal greed and need for glory? Tagore was the one who gave the title of Mahatma to Gandhi (the later returned the favour by calling him 'Gurudev') but it seems he was critical of later opinions. While Gandhi's ideal was localisation of government to village level. Tagore believed that even nationalism wasn't the end but only a step towards to something bigger. In this book too, the victory belonged to one who acted rationally rather than blindly pursuing ideal of nationalism. And such beautiful prose that you know it is a poet writing it: “that which is eternal within the moment only becomes shallow if spread out in time.” “But when physical appearance evades the scrutiny of our senses and enters the sanctuary of our hearts, then it can forget itself. I know, from my childhood's experience, how devotion is beauty itself, in its inner aspect.” “Purity, they imagined, was only becoming in those on whom fortune had not smiled. It is the moon which has room or stains, not the stars."

  6. 5 out of 5

    Luís C.

    A simple story in appearance that could call many comments and digressions. Three main characters confront each other: 1 a Maharaja imbued with traditional wisdom but open to the world, 2 a woman whom he loves and to whom he offers freedom so that she can learn to know herself and to discover the world, 3 and a political leader, embodying the rise, cynicism and extremism of the present times. The woman, rich in the freedom offered by the one, will fall in love with the other, who embodies in her eye A simple story in appearance that could call many comments and digressions. Three main characters confront each other: 1 a Maharaja imbued with traditional wisdom but open to the world, 2 a woman whom he loves and to whom he offers freedom so that she can learn to know herself and to discover the world, 3 and a political leader, embodying the rise, cynicism and extremism of the present times. The woman, rich in the freedom offered by the one, will fall in love with the other, who embodies in her eyes the power and the will, as opposed to her husband who seems far too timid. The Home and the World, perhaps as an opposition between interiority and externality, intimacy and public life, philosophy and action. It is all along the confrontation to the world, lived as a test revealing the "deep nature" of each.

  7. 4 out of 5

    ميقات الراجحي

    عندما قرأت العمل هذا كنت أرجّح شاعرية طاغور أكثر على روائيته والسبب لكثرة ماعرفته من نتاج شخصي له وماعرف كشاعر لكن هذا العمل يبرهن على حتى نجاحه الروائي وككاتب مسرحي كذلك. الرواية ليست بالمعجزة ولا العظيمة فهي تقليديتها. لكنها مشبعة بالحكمة والفلسفة كمعظم رويات الهند والصين هذا فوق فلسفة طاغور الساحرة وهو يصور المجتمع الهندي برؤية شاعرية حتى من خلال الحوار لسرده عن العادات والتقاليد في المجتمع الهندي. وتماسكها رهيب من قبل طاغور الشاعر. كان طاغور يصب كل نتاجه عن الإنسان والوطن والمثاليات والمبادئ عندما قرأت العمل هذا كنت أرجّح شاعرية طاغور أكثر على روائيته والسبب لكثرة ماعرفته من نتاج شخصي له وماعرف كشاعر لكن هذا العمل يبرهن على حتى نجاحه الروائي وككاتب مسرحي كذلك. الرواية ليست بالمعجزة ولا العظيمة فهي تقليديتها. لكنها مشبعة بالحكمة والفلسفة كمعظم رويات الهند والصين هذا فوق فلسفة طاغور الساحرة وهو يصور المجتمع الهندي برؤية شاعرية حتى من خلال الحوار لسرده عن العادات والتقاليد في المجتمع الهندي. وتماسكها رهيب من قبل طاغور الشاعر. كان طاغور يصب كل نتاجه عن الإنسان والوطن والمثاليات والمبادئ والحرب والسلم في هذه الرواية وكأنه لن يكتب نثرًا بعد هذا العمل. النص من خلال شخصيات ثلاث تقوم أحداث الرواية التي أبدع طاغور في تسجيل صراعات هذه الشخصيات الإنسانية. (نيكهيل، وسنديب، و بيمالا) ويكون المونولوج الداخلي ركيزة جميلة في الرواية يلعب عليها طاغور لتصوير شخصياته، ونقد مجتمع الهند.

  8. 4 out of 5

    Elena

    Reading Tagore's work as a Westerner, I am always reminded of the importance of caution. That is, I must be careful to not be too attached to the certainties I usually attach to my criteria for evaluation. When the author invites me to paint a picture, under his guidance, out of the materials of my mind, and I feel a certain resistance to even get started before recoiling, judging such a picture to be quite categorically in “bad form,” I must be cautious, and willing to question myself. Caution Reading Tagore's work as a Westerner, I am always reminded of the importance of caution. That is, I must be careful to not be too attached to the certainties I usually attach to my criteria for evaluation. When the author invites me to paint a picture, under his guidance, out of the materials of my mind, and I feel a certain resistance to even get started before recoiling, judging such a picture to be quite categorically in “bad form,” I must be cautious, and willing to question myself. Caution invites self-criticism, as well as the openness to seeing one's standpoint with reserve, as if temporarily suspended from it. I feel the whole issue about Tagore's approach to characterization here is one such issue that has more to do with paradigm difference than with an intrinsic lack of genius. After all, our aesthetic orientation is born of our ontology, with its corollary phenomenology (or culturally standard mode of interpreting and giving shape to experience). Allegory has been out of fashion here in the West for some time. Modern aesthetic dogma deems allegory “unnatural” - though we forget that standard pictures of nature do very much differ with culture and with the array of possible philosophical orientations each cultural system of representation allows. When pictures of nature change, so does the aesthetic sense of “naturalness.” The problem, as usual, is that we tend to turn our pictures of nature into dogmas, mistaking them for the only valid orientation vis-a-vis nature (hence why self-proclaimed naturalists and realists often seem more dogmatic than most intellectuals: nature must at all costs be trimmed to fit their picture of it). We forget that our naturalism isn't the only naturalism. I'd wager that, for Tagore, allegory may well seem a more wholesomely “natural” way of depicting character than that of the standard Western "naturalist" canon. To begin to try to reconstruct in imagination and affect alike, as a Westerner, how this is possible would perhaps require an effort to remember – that is, to recall that the West, too, once portrayed individuals in relation to allegorical types. So what kind of view of nature does allegory reveal? IMO, you don't even need special insight into the particularity of Bengali culture to answer THAT basic question, which opens the door to Tagore's worldview, and hence, to his sensibility. Allegory, in its basic logic, connects the individual to a universal pattern, and sees the individual in terms of that universal: as an instatiation thereof. Allegory as an aesthetic device implies an ontology in which the essence of the individual IS its location in the ontic Logos (in Charles Taylor's words, or, to put it in more humanly understandable terms, in a meaningful cosmic order). The key to understanding this approach to characterization is the realization that every one of Tagore's characters is both individual and archetype, and, he seems to insist, is an individual all the more so BECAUSE s/he is an archetype. So Nikhil is the voice of universalism, reason, and humanism (but also something much more fundamental than humanism, which relates the individual not merely to the human race, but also to the universe, as he describes in Sadhana). Sandip is the intransingent revolutionary principle of creation-by-destruction; he exists to give voice and embodiment to a materialism so voided out of all value, meaning and feeling as to slide into the demonic. And Bimala is the radically Other – Other even from herself (though I don't think Tagore's compassion for her extended so far as to realize her as such). She is Mother Nature, but a Nature without form; she is putty and canvas for the ideas of the two Subjects: Sandip and Nikhil. Her own feeling of herself is an echo of, and sometimes a comment on, their feeling of her. Each character is an individual BECAUSE they give voice to their correlative principle, which defines a way of being human in relation to the world (except for Bimala, who never entirely rises to full subjectivity). Just as each individual is an archetype, so is the political moment depicted in archetypal terms. Thus, the book is more than a comment on the unique historical moment represented by the Swadeshi movement. BECAUSE Tagore is adopting the allegorical mode, he is using insight into his particular time in order to transcend to an insight into the invarying structure of the human condition itself: the particular becomes an instantiation of a universal principle. Thus, the conflict between Nikhil and Sandip over Bimala can never become "irrelevant," as much as we should wish to ward it off and shove it into a neat little box of untransportable historical curiosities. The fact that the inflamed, righteous Sandip - with his peerless knack for turning egotistical impulse into universal ethical principle - always wins in politics, but with devastating consequences, is a fact about human nature that is not likely to change wherever you go, and whatever "progress" occurs in our structuring of institutions. Tagore's modernity, rationalism, universalism, and humanism make contemporary politics (and I am speaking about here in the West – I can't really speak for the rest of the world as global politics isn't my forte) seem medieval in comparison. “I am willing to serve my country, but my worship I reserve for Right which is far greater than my country. To worship my country as a god is to bring a curse upon it.” This statement speaks for itself as to why. I would also suggest that perhaps we have something to learn from Tagore's more timeless, archetypally grounded picture of nature and character, which he was, for all his modern innovation, bravely keeping alive in spite of the obviously changing tide of the times. Consider the view such a passage reveals: “If one had to fill in, little by little, the gap between day and night, it would take an eternity to do it. But the sun rises and the darkness is dispelled- a moment is sufficient to overcome an infinite distance.” To see the moment as a confluence of eternities... My mind being grafted on the Western tradition, this passage made me think of Whitehead's thought: “The foundation of reverence is this perception, that the present holds within itself the complete sum of existence, backwards and forwards, that whole amplitude of time, which is eternity.” But this insight, too, is all in Tagore's Sadhana, which I think anybody should read before reading his fiction, as you can use the ideational scaffolding as a support when you wade into the sea of phenomena as he shows them to you in his fiction. It is this insight, this mode of description here, that to me, best exemplifies the uniqueness of Tagore's way of seeing, his worldview – or at least, the worldview as it gained expression in his unique genius. My advice is to use the philosophy to guide you in the art, and to try to be more curious and a bit more willing to see yourself as a reader from the outside-in, as much as you can. Otherwise, Tagore's world will remain for you a garden seen through a foggy window.

  9. 4 out of 5

    Bettie☯

    http://www.bbc.co.uk/programmes/b0857wv3 Description: A vivid, powerful and compelling story of love, power and political awakening. Tanika Gupta updates Rabindranath Tagore's classic novel to a contemporary British Muslim context. Nusrat arrives in the UK from Pakistan to marry Nabeel, a wealthy, progressive and educated businessman. Fearful of the wider society, Nusrat locks herself away in the house reading newspaper articles that only serve to heighten her concerns. Nabeel encourages Nusrat to http://www.bbc.co.uk/programmes/b0857wv3 Description: A vivid, powerful and compelling story of love, power and political awakening. Tanika Gupta updates Rabindranath Tagore's classic novel to a contemporary British Muslim context. Nusrat arrives in the UK from Pakistan to marry Nabeel, a wealthy, progressive and educated businessman. Fearful of the wider society, Nusrat locks herself away in the house reading newspaper articles that only serve to heighten her concerns. Nabeel encourages Nusrat to broaden her horizons and to enter the outer world as he believes that only then will they know if their love is true. When, at Nabeel's insistence, Nusrat attends a public meeting led by Nabeel's university friend Sultan, a charismatic leader of a charity that Nabeel funds, Nusrat's eyes are opened to the potential for action and change. Both a romantic-triangle story and a philosophical take on violence in times of revolution 'The Home and the World' was originally set in British Colonial India in 1908 at the height of the Swadeshi movement, a boycott of British goods. Gupta reimagines the story transposing it to an unnamed Northern British town in 2016, where anger and resentment against Islamophobia is thriving. Young Muslim men and women search for a sense of belonging, a cause and a way to make their voices heard. The central philosophical questions of Tagore's novel resonate strongly with current events.

  10. 4 out of 5

    Ahmed

    أول تجربة لي مع أديب الهند الأبرز و أعظم قاماته على الاطلاق , وكانت تجربة مفيدة للغاية . رواية تقليدية عن المجتمع الهندي , برع فيها الكاتب في توصيف مشاعر شخصياته , وتقديم العادات والتقاليد المجتمعية في صيغة ممتعة وشاملة في نفس الوقت , تنوع بين العمق النفسي و ظاهر الإنسان ليقدم لك كافة التفاصيل المفيدة لخدمة روايته . رواية متمكنة احترافية , فيها ترابط بين تسلسل الأحداث و تطورات الشخصية , و نهايتها تقليدية للغاية مما أثر على الشكل العام للرواية (ولكن يمكن أن نغفر ذلك لزمن الكتابة نفسه 1961) . الرواية أول تجربة لي مع أديب الهند الأبرز و أعظم قاماته على الاطلاق , وكانت تجربة مفيدة للغاية . رواية تقليدية عن المجتمع الهندي , برع فيها الكاتب في توصيف مشاعر شخصياته , وتقديم العادات والتقاليد المجتمعية في صيغة ممتعة وشاملة في نفس الوقت , تنوع بين العمق النفسي و ظاهر الإنسان ليقدم لك كافة التفاصيل المفيدة لخدمة روايته . رواية متمكنة احترافية , فيها ترابط بين تسلسل الأحداث و تطورات الشخصية , و نهايتها تقليدية للغاية مما أثر على الشكل العام للرواية (ولكن يمكن أن نغفر ذلك لزمن الكتابة نفسه 1961) . الرواية تتمركز حول 3 شخصيات أساسية , رجل هندي (عصري وطني يحب وطنه) وبين زوجته (إمرأة هندية مطيعة) و بين عاشق للسلطة مدمن لها من خلال ادعاءه المثالية و المبادئ القيّمة , وبين كل هؤلاء تتنوع الشخصيات الثانوية التي تخدم سياق العمل . العمل جيد في تقديم زمان و مكان وشخصياتهما , ففيه برع الكاتب في نقلك لعالمه و الاستمتاع معه , ترجمة شكري عياد كانت موفقة للغاية , وهوامش العمل مفيدة جدا. في المجمل : تجربة جديدة موفقة مع طاغور .

  11. 5 out of 5

    S.Ach

    If "Timelessness" defines whether a book is a classic or not, then "Ghare Baire" or "The Home and The World" is in true sense a great Classic. Before this book, 'Chokher Bali' was the only other novel that I had read of Tagore, and can't say I was too impressed with it. But, this book was just revelation to me what a radical thinker Tagore was. It has been 100 years since the book was written, during the days of 'Swadesi Movement', Indian uprising against the British, transition of the tradition If "Timelessness" defines whether a book is a classic or not, then "Ghare Baire" or "The Home and The World" is in true sense a great Classic. Before this book, 'Chokher Bali' was the only other novel that I had read of Tagore, and can't say I was too impressed with it. But, this book was just revelation to me what a radical thinker Tagore was. It has been 100 years since the book was written, during the days of 'Swadesi Movement', Indian uprising against the British, transition of the traditional to the modern, Hindu-Muslim Rich-Poor conflicts. But the book is as relevant today as it was then. The book tales the story of three contrasting characters, narrated all in first-person, about their convictions, confusions and realizations. A nationalist who holds "being might" above "being right", a rationalist who questions the common beliefs and a liberated woman who struggles between her lust for a spirited man, fighting the social prejudices and her admiration for her righteous husband. The sections dealing with the debate between "rationalism" and "nationalism" are extremely relevant to today's world, especially now when there is a sudden emergence of overt fundamentalism in many places. With the first-person narratives Tagore tries to avoid any kind of bias, but his inclination towards rationalism against the strong sense of patriotism could be easily sensed. "What I really feel is this, that those who cannot find food for their enthusiasm in a knowledge of their country as it actually is, or those who cannot love men because they are men, – whose needs must shout and deify their country in order to keep up their excitement, – those love excitement more than their country. To try to give our infatuation a higher place than Truth is a sign of inherent slavishness. Where our minds are free we find ourselves lost. Our moribund vitality must have for its rider either some fantasy, or someone in authority, or a sanction from the pundits, in order to make it move. So long as we are impervious to truth and have to be moved by some hypnotic stimulus, we must know that we lack the capacity for self- government. Whatever may be our condition, we shall either need some imaginary ghost or some actual medicine-man to terrorize over us." Pongalswamy said, "You 'Adarsh Liberals' believe in an utopian world which is not realistic at all." I asked, "Doesn't pragmatism somehow hinder imagination?"

  12. 4 out of 5

    Teresa

    "É Agosto e o céu explode em chuva apaixonada; Mas, ai de mim, está vazia a minha casa." — Vidyapati A acção de A Casa e o Mundo decorre em Bengala, no início do século XX, tendo como pano de fundo as convulsões sociais originadas pelo Movimento Swadeshi(*). Narrado na primeira pessoa, pelas três personagens principais, este romance é um retrato da Índia em conflito com o desejo de modernidade e os valores ancestrais, simbolizado pela personagem feminina, Bimala. Nikhil é um marajá que, preservando o "É Agosto e o céu explode em chuva apaixonada; Mas, ai de mim, está vazia a minha casa." — Vidyapati A acção de A Casa e o Mundo decorre em Bengala, no início do século XX, tendo como pano de fundo as convulsões sociais originadas pelo Movimento Swadeshi(*). Narrado na primeira pessoa, pelas três personagens principais, este romance é um retrato da Índia em conflito com o desejo de modernidade e os valores ancestrais, simbolizado pela personagem feminina, Bimala. Nikhil é um marajá que, preservando os valores morais e espirituais, está aberto à evolução. É um homem bom e justo e não aceita que a mulher, Bimala, viva reclusa e sem educação, conforme os costumes; quer, e age, para mostrar a Bimala o mundo fora da casa. Esta, inicialmente, repudia a mudança mas quando conhece Sandip, um amigo do marido, acaba a envolver-se na sua causa política. Sandip é um jovem de ideias radicais, que despreza as tradições, e coloca acima de tudo a revolução, e o poder, usando de todos os meios ao seu alcance: a crueldade e a manipulação dos sentimentos dos amigos. "Quando, como um rio, nós, mulheres, nos mantemos dentro das nossas margens, damos alimento com tudo quanto possuímos; quando as galgamos, destruímos com tudo o que somos." "Os que são capazes de seguir a sua vida com energia têm forçosamente de vencer no fim. Mas os deuses não querem que tal jornada seja fácil, por isso encarregaram uma sereia chamada compaixão de distrair o viandante, de lhe obscurecer a visão com a sua neblina de lágrimas." "Os que querem dominar não temem as falsidades; as grilhetas da verdade estão reservadas àqueles que caírem sob a sua influência. Não estudaste história? Não sabes que nos imensos caldeirões onde fervilham os vastos progressos políticos, as mentiras são os principais ingredientes?" "aqueles que outra coisa não fazem que enganar acabam por se enganar a si próprios, sempre que Sandip cria uma nova falácia, convence-se de que descobriu a verdade, por mais contraditórias que as suas invenções possam ser, comparadas umas com as outras." (*) Movimento Swadeshi

  13. 4 out of 5

    J.G. Keely

    In 1913, Tagore became the first non-Western writer--and to date the only Indian or Bengali--to with the Nobel Prize for Literature. Reading his work, it isn't very difficult to imagine why, since they possess a Chekhovian focus on the lives, thoughts, and struggles of small people in a large world, all laid against the changing politics of the time. Yet the structure left something to be desired: Tagore writes in the first person, but switches characters every few chapters. this could have been In 1913, Tagore became the first non-Western writer--and to date the only Indian or Bengali--to with the Nobel Prize for Literature. Reading his work, it isn't very difficult to imagine why, since they possess a Chekhovian focus on the lives, thoughts, and struggles of small people in a large world, all laid against the changing politics of the time. Yet the structure left something to be desired: Tagore writes in the first person, but switches characters every few chapters. this could have been interesting and effective, perhaps giving a Rashomon-type view that shows how different people view the same events differently--but that isn't what we get. Rather, between descriptions of the action, we are given these internal soliloquies that explain each character's thoughts, motivations, and desires. A big part of what made Chekhov so impressive as an author was the way he showed the internal lives of his characters through their actions. Though it was rare for them to openly express what they felt or thought, you always understood from how they presented themselves, or what the didn't say, what was on their mind. Of course, that is a technique available only to master writers, but perhaps that is the sort of writer who should be receiving a Nobel Prize. There are some quite lovely passages, and a number of effective metaphors and symbols throughout which demonstrated that Tagore is insightful and imaginative, but the blatant way ideas and characters were explained to the audience made the story much less intriguing, for me. It was something akin to being cornered at a party by a number of dull, selfish people and then listening to them explain their lives, thoughts, and relationships at length. It left me feeling that a naturalistic story deserves a more naturalistic approach.

  14. 5 out of 5

    Mohit Parikh

    The Home and the World is a literary masterpiece by Rabindranath Tagore. Set as a love triangle in the backdrop of Swadesi movement in the then Bengal, it is essentially an exploration of the noosphere surrounding the revolution, encapsulating Tagore's personal critique on the movement's ideology. All the three central characters of the novel are distressed, while treading their paths for greatness. Bimala is a young wife who seeks greatness (which every "woman is entitled to") through utmost dev The Home and the World is a literary masterpiece by Rabindranath Tagore. Set as a love triangle in the backdrop of Swadesi movement in the then Bengal, it is essentially an exploration of the noosphere surrounding the revolution, encapsulating Tagore's personal critique on the movement's ideology. All the three central characters of the novel are distressed, while treading their paths for greatness. Bimala is a young wife who seeks greatness (which every "woman is entitled to") through utmost devotion and surrender, and she finds the cause in the passionate desires of her husband's friend and in the nationalist movement. Nikhil, a rich businessman and Bimala's husband, is a noble soul who seeks to be just by abiding to his spiritual principles while he is being denounced as a traitor by the countrymen. Sandip is Nikhil's childhood friend and local leader of the nationalist movement who falls in love with Bimala. He seeks glory through power and material success, and considers restraint as a sign of weakness. Each of the three characters narrate their trials and tribulations in first person in long monologues ('tell, not show'). While this style takes some time getting used to, by the time one finishes the book it becomes clear that Tagore could not have invented a more suitable technique for narration. There is but only a minimal tangible action and the central drama of the story unfolds within the characters, slowly and turbulently... and giving three distinct perspectives for the readers to brood on. With fluency and lyric Tagore turns the characters inside out... something inconceivable for me as a writer just yet. The crux of the novel lies in the philosophical debates (illusion v/s truth, pragmatism/materialism v/s spiritual idealism, passion v/s virtues) it is rich with. They are relevant and enthralling, and raise important questions that are applicable for all such expeditions. Having been raised to sing Bande Mataram with supreme pride (and seeing the recent political dramas in the country), I find the book unique and extremely important for this generation, and the next. Can't wait to watch Satyajit Ray's cinematic adaptation!

  15. 5 out of 5

    Elizabeth

    an amazing view of swadeshi in the early 1900s India. The three sotries being told seem to reflect the higher consciousness (Nikihl), the concious (Bimala) and the lower conciousness (Sandip). True Bimala loses her way to sensationalism, terror and nationalism but at some point you must pay the piper to your higher self and reflect at some point, Bimala of course does. I loved that Tagore tells the story from three points of view and is able to captuer the voice of Bimala so clearly. This should an amazing view of swadeshi in the early 1900´s India. The three sotries being told seem to reflect the higher consciousness (Nikihl), the concious (Bimala) and the lower conciousness (Sandip). True Bimala loses her way to sensationalism, terror and nationalism but at some point you must pay the piper to your higher self and reflect at some point, Bimala of course does. I loved that Tagore tells the story from three points of view and is able to captuer the voice of Bimala so clearly. This should be required reading in times of extreme patriotism so we can learn a lesson, albeit fictional, from history.

  16. 5 out of 5

    Tyler

    My best exposure to non-Western literature comes courtesy of Egypt's authors. In comparison to them I was rather disappointed by Midnight's Children, about India. But when I read this short novel by Tagore I encountered a Bengali author capable of matching Naguib Mahfouz, although writing about completely different subjects. If this sounds too esoteric to readers in search of good writing who haven't yet ventured into non-Western literature, it's my way of saying simply to read this book. You'll My best exposure to non-Western literature comes courtesy of Egypt's authors. In comparison to them I was rather disappointed by Midnight's Children, about India. But when I read this short novel by Tagore I encountered a Bengali author capable of matching Naguib Mahfouz, although writing about completely different subjects. If this sounds too esoteric to readers in search of good writing who haven't yet ventured into non-Western literature, it's my way of saying simply to read this book. You'll be glad you did.

  17. 4 out of 5

    Kavita

    My sole familiarity with Tagore's works were singing the national anthem and reading some down-scaled translated version of 'Kabuliwalah', both during school days. But watching 'Stories By Rabindranath Tagore' interpreted by Anurag Basu in an unique manner, on Netflix, aroused my curiosity. The man did contribute a chunk to India's literary heritage, after all! So, the story is about three people: Bimala, her husband, Nikhil, and her lover, Sandip. But it's not really. The backdrop is the Swadesh My sole familiarity with Tagore's works were singing the national anthem and reading some down-scaled translated version of 'Kabuliwalah', both during school days. But watching 'Stories By Rabindranath Tagore' interpreted by Anurag Basu in an unique manner, on Netflix, aroused my curiosity. The man did contribute a chunk to India's literary heritage, after all! So, the story is about three people: Bimala, her husband, Nikhil, and her lover, Sandip. But it's not really. The backdrop is the Swadeshi movement in India that was aimed at boycotting British goods and reviving Indian industry. The story is basically a treatise against nationalism and fanaticism, something that India can relate to deeply even today. Issues about caste discrimination arise even during the nationalist movement. Relate to it yet? And there is cow vigilantism! It is as if nothing has changed since the last hundred years in this country. This slim novel should resonate soundly with people even today since some of the issues discussed in it are still relevant to our society. But the story itself I found rather dragging and Tagore certainly employed purple prose to full effect. The characters were uninteresting and I was unable to merely see them as vehicles for the underlying message. The monologues and dialogues became tiresome after a while. It was as if Tagore was unable to shake off his poet's garb when writing this novel. Despite relating deeply to what the author has to say, I actually found reading this book rather boring. I am rating for the story, not the message, as usual.

  18. 4 out of 5

    Nazanin

    خب...درست نمیدونم چه امتیازی باید به این کتاب بدم این اثر برای من ملغممه ای بود از گنگی برخی قسمت های ماجرا، مفاهیم ژرف و ماندگار، کسالت آور بودن بخش هایی از حوادث و البته یک حس زیبا و در نهایت خرسندی بابت اینکه بالاخره به آخرین صفحه رسیدم کتاب رو چندماه قبل خیلی اتفاقی در قفسه یک کتابفروشی دیدم (فقط دو جلد بود و بعدها هم دیدم یک جلد باقیمانده همچنان در جای خود غریب و تنها نشسته) فقط به اعتبار اسم شکوهمند تاگور و شاید ترجمه خانم زهرا کیا تصمیم به خواندنش گرفتم چون هیچ پیش زمینه ای راجع به این اثر خب...درست نمیدونم چه امتیازی باید به این کتاب بدم این اثر برای من ملغممه ای بود از گنگی برخی قسمت های ماجرا، مفاهیم ژرف و ماندگار، کسالت آور بودن بخش هایی از حوادث و البته یک حس زیبا و در نهایت خرسندی بابت اینکه بالاخره به آخرین صفحه رسیدم کتاب رو چندماه قبل خیلی اتفاقی در قفسه یک کتابفروشی دیدم (فقط دو جلد بود و بعدها هم دیدم یک جلد باقیمانده همچنان در جای خود غریب و تنها نشسته) فقط به اعتبار اسم شکوهمند تاگور و شاید ترجمه خانم زهرا کیا تصمیم به خواندنش گرفتم چون هیچ پیش زمینه ای راجع به این اثر نداشتم گاهی نام یک نویسنده بزرگ کافی ست تا خواننده بی اختیار به سمت آن اثر جذب بشود داستان حول محور جنبش هایی در بنگاله اوایل قرن نوزده و عبور نرم و نازک جامعه آن زمان هند از سنت به مدرنیته هست که در اینجا شاید خانه نماد سنت و جهان سمبل همان نوگرایی باشد ماجرا از زبان سه شخصیت اصلی داستان بازگو می شود که زن قصه به نوعی در میان این کشاکش قرار گرفته از سویی همسرش نی کیل که به نظر فردی معتدل است و سندیپ دوست همسرش که فردی افراطی است کتاب تا حدود صفحه هشتاد کمی کسل کننده و کُند بود اما کم کم سیر اتفاقات شتاب گرفت و لحن داستان هم نسبتا گیرایی بیشتری پیدا کرد اما در تمام کتاب به نظرم یک جور ابهام خاصی وجود داشت که نمیدانم مربوط به اصل روایت تاگور بود یا ترجمه ترجمه بعضی قسمتها یک مقدار خشک و نچسب بود و کسالت آور اما خب انصافا کتاب حاوی جملات ارزشمندی هست که به نظرم همیشه تازگی خواهند داشت برای اثری از تاگور انتظار بالاتری داشتم روی هم رفته به نظرم خانه و جهان دست کم برای یکبار خوانده شدن، میتونه پیشنهاد شه امتیاز کتاب هم بین ۳.۵ تا ۴

  19. 5 out of 5

    Jumana Taha

    أول رواية أتوقف فيها عن القراءة لأحضن الكتاب، كأني أمتص من الكلمات معانٍ مدفونة ومألوفة -على حد سواء- في جنبات قلبي. رواية عميقة. أؤمن أن في كل منّا نيكهل وسنديب وبيمالا المتأرجحة بينهما، استحضرت كثيراً النظرية البنيوية لفرويد،ولكن هذه المرة ممزوجة بالفلسفة الهندية الروحانيّة، فكرت كثيراً في دور الدين/السياسة/الدين المسيس كفاصل بين الشخصيتين. واستمتعتُ، كثيراً استمتعتٌ بوصف الرواية الساحر.

  20. 4 out of 5

    Nathan

    "What if I am unworthy? The true value of love is this, that it can ever bless the unworthy with its own prodigality. For the worthy, there are many rewards on Gods earth, but God has specially reserved love for the unworthy. "- Rabindranath Tagore, The Home and the World, 41 This is a love story, but by no means a conventional one. It begins nine years after the marriage of our star-crossed lovers, Bimala and Nikhil. Bimala has become totally complacent to be just a housewife. She views herself "What if I am unworthy? The true value of love is this, that it can ever bless the unworthy with its own prodigality. For the worthy, there are many rewards on Gods earth, but God has specially reserved love for the unworthy. "- Rabindranath Tagore, The Home and the World, 41 This is a love story, but by no means a conventional one. It begins nine years after the marriage of our star-crossed lovers, Bimala and Nikhil. Bimala has become totally complacent to be just a housewife. She views herself as an inherently unworthy vessel for Nikhil's love. It becomes incredibly frustrating to see how misconstrued her values are in the beginning. She thinks her inferiority complex translates to an inbred inferiority of all women. Enter Sandip, Nikhil's oldest friend. He knocks Bimala out of her old fashioned ideas, and stirs within her a knowledge of herself, her motherland and her attractions. The rest of the novel becomes an act of balancing her love for all three. What's more interesting than the romance is the political backdrop of the Swadeshi movement. Sandip, with his fire and his passion begins to represent very early in the movement as a whole. And with him, he brings a violent, fanatic following. As in one of my very favorite novels Song of Solomon, there's a major motif through the whole novel of the perpetuity of hatred, and why ultimately many love it. " I cannot but feel, again and again, that there are two persons in me. One recoils from Sandip and his terrible aspect of Chaos- the other feels that very vision to be sweetly alluring. The sinking ship drags down all who are swimming round it. Sandip is such a force of destruction. His immense attraction gets hold of one before fear can come to the rescue, and then, in the twinkling of an eye, one is drawn away, irresistibly, from all light, all good, all freedom of the sky, all air that can be breathed- from lifelong accumulations, from everyday cares- right to the bottom of dissolution"- Rabindranath Tagore, 178 The Home and the World draws the reader in with its hypnotic narrative. The three central characters are each given a voice throughout the novel. It becomes clear in a way unlike any other the very nature of their actions and motivations. Bimala is trying to find her life in the chaos of the Indian national movement. Nikhil is trying his best to give back to the world the good fortune he has encountered. And Sandip is creating havoc in his home. I cannot help but feel that Sandip is the weak point of an otherwise strong book. He becomes more of an Ayn Rand hero than a multi-dimensional character. I feel like Rupert Murdoch in sheep's clothing is an accurate description of his character. More symbol than man, Tagore wastes an opportunity for an actual view of both sides of Swadeshi. For use of language alone, though, The Home and the World is worth a read. Tagore has some of the most beautiful sentences in any translation I've read. It naturally inspires meditation on the text, and all the points he brings up.

  21. 5 out of 5

    Nabila Tabassum Chowdhury

    রবিঠাকুর কেন রবিঠাকুর তার আরেকটি নিদরশন এই গরনথটি (কোনটি নয় সেটা একটা পরশন!)। কখনো বিমলা, কখনো নিখিলেশ বা কখনো সনদীপের আতমকথা নিয়ে এই উপনযাসটি এগিয়ে চলেছে। পড়তে মনে হয় আমি ওদের অনেক কাছের বনধু তাই মানুষগুলো আমার কাছে ঘটে যাওয়া ঘটনা, ঘটনাকে ঘিরে ভাবনা, মানুষকে ঘিরে ভাবনা এ সবকিছু বলে যাচছে। কোনো কপটতা আমার এবং চরিতরগুলোর মাঝে নেই। আমি যেভাবে আমার বনধুদের চিনতার জায়গাটা সপরশ করতে পারি, ঠিক সেভাবে চরিতরগুলোর চিনতার সপরশও বাসতব। আমি ওদের বুঝতে পারি। বুঝতে পারি পারসপরিক সমপরক এবং দবনদবকে। নিজের সাথে রবিঠাকুর কেন রবিঠাকুর তার আরেকটি নিদর্শন এই গ্রন্থটি (কোনটি নয় সেটা একটা প্রশ্ন!)। কখনো বিমলা, কখনো নিখিলেশ বা কখনো সন্দীপের আত্মকথা নিয়ে এই উপন্যাসটি এগিয়ে চলেছে। পড়তে মনে হয় আমি ওদের অনেক কাছের বন্ধু তাই মানুষগুলো আমার কাছে ঘটে যাওয়া ঘটনা, ঘটনাকে ঘিরে ভাবনা, মানুষকে ঘিরে ভাবনা এ সবকিছু বলে যাচ্ছে। কোনো কপটতা আমার এবং চরিত্রগুলোর মাঝে নেই। আমি যেভাবে আমার বন্ধুদের চিন্তার জায়গাটা স্পর্শ করতে পারি, ঠিক সেভাবে চরিত্রগুলোর চিন্তার স্পর্শও বাস্তব। আমি ওদের বুঝতে পারি। বুঝতে পারি পারস্পরিক সম্পর্ক এবং দ্বন্দ্বকে। নিজের সাথে চলা দ্বন্দ্বগুলোও বাদ যায় না। হয়তো ওদের ভাবনার খানিকটা ধরতে পারিও না। এভাবেই খানিকটা ধরা-অধরায় ওদের মনের ঘরকে দেখি এবং জানতে পাই বাইরের মানুষটাকেও। উপন্যাসটিকে অনেকেই রাজনৈতিক উপন্যাস বলেছেন, স্বদেশী আন্দোলনের সময়টা ব্যাকগ্রাউন্ডে থেকেও বেশ প্রকট হয়ে উঠেছে মানুষগুলোর আচরণে, কিন্তু এটুকু রাজনীতি কি একে রাজনৈতিক উপন্যাস বলার জন্য যথেষ্ট? কি জানি! সে যাক, বন্ধুদের সবাইকে তো আর সমান ভালবাসা যায় না, আবার সমান শ্রদ্ধা করাও চলেও না। সবার চিন্তার সাথে একমত ও হওয়া যায় না। এখানেও আমার ব্যক্তিগত প্রিয় রয়েছে। সে নিখিলেশ। আমি মনেহয় নিখিলেশকে নিয়ে এখন বড়সড় রচনা ফেঁদে বসতে পারবো। তবে তা নিষ্প্রয়োজন। রবিঠাকুর যা বলেছেন নিখিলেশকে বুঝতে হলে এর বেশী কিছু দরকার নেই। খামোখা আমার ক্ষুদ্র মস্তিষ্ককে কষ্ট আর না দিই। আমি শুধু জানি জীবনে চলার পথে নিখিলেশের মত কাউকে পেলে নিজেকে সৌভাগ্যবান মনে করবো। তাই বলে কেউ আবার ভেবে বসবেন না যেন আমি বিমলা হতে চাই। বিমলার সাথে আমার বিস্তর পার্থক্য। পার্থক্য, তা সে সবার সাথেই, নিখিলেশ, বিমলা কিংবা সন্দীপ। আমি ওদের কেউ নই। আমি নিখিলকে ভালবাসি, তার চিন্তাকে সমর্থন করি কিন্তু নিখিলের উন্মুক্ততা, ঔদার্য এবং চিন্তার স্বচ্ছতা পুরোপুরি আমার মাঝে নেই। আবার আমি বিমলার মতও সহজে প্রভাবিত হতে পারিনা, নারীত্বের চেয়ে মনুষ্যত্ব নিয়েই আমার গর্ব বেশি, কিন্তু নিজেকে ছাড়িয়ে যাবার ইচ্ছা যে আমার মাঝে নেই তাও আবার বলতে পারি না। সন্দীপের আকাঙ্ক্ষার মুল সুরটি যেমন নেতিবাচক, আমারটি প্রকটভাবে ইতিবাচক কিন্তু কখনো কখনো সন্দীপের ইচ্ছার তীব্রতাকে, ইচ্ছায় অন্ধ হয়ে যাবার প্রবণতাকে নিজের থেকে আলাদা করতে পারি না। ওদের এসব চিন্তাগুলো আমার সাথে বহুদিন থাকবে বলেই মনে হচ্ছে।

  22. 4 out of 5

    Laura

    From BBC Radio 3 - Drama on 3: A vivid, powerful and compelling story of love, power and political awakening. Tanika Gupta updates Rabindranath Tagore's classic novel to a contemporary British Muslim context. Nusrat arrives in the UK from Pakistan to marry Nabeel, a wealthy, progressive and educated businessman. Fearful of the wider society, Nusrat locks herself away in the house reading newspaper articles that only serve to heighten her concerns. Nabeel encourages Nusrat to broaden her horizons an From BBC Radio 3 - Drama on 3: A vivid, powerful and compelling story of love, power and political awakening. Tanika Gupta updates Rabindranath Tagore's classic novel to a contemporary British Muslim context. Nusrat arrives in the UK from Pakistan to marry Nabeel, a wealthy, progressive and educated businessman. Fearful of the wider society, Nusrat locks herself away in the house reading newspaper articles that only serve to heighten her concerns. Nabeel encourages Nusrat to broaden her horizons and to enter the outer world as he believes that only then will they know if their love is true. When, at Nabeel's insistence, Nusrat attends a public meeting led by Nabeel's university friend Sultan, a charismatic leader of a charity that Nabeel funds, Nusrat's eyes are opened to the potential for action and change. Both a romantic-triangle story and a philosophical take on violence in times of revolution 'The Home and the World' was originally set in British Colonial India in 1908 at the height of the Swadeshi movement, a boycott of British goods. Gupta reimagines the story transposing it to an unnamed Northern British town in 2016, where anger and resentment against Islamophobia is thriving. Young Muslim men and women search for a sense of belonging, a cause and a way to make their voices heard. The central philosophical questions of Tagore's novel resonate strongly with current events. http://www.bbc.co.uk/programmes/b0857wv3

  23. 4 out of 5

    Alireza Sahafzadeh

    خانه و. جهان اثر نویسنده شهیر هندی دربر دارنده ی روایتی از دوران پر جوش و خروش سرزمین بنگال است که با داستانی اشقانه همراه شدهدر فضای داستانی کمتر به توصیف و محیط پرداخته شده و بیشتر داستان بر مکالمات و تک گویی ها استوار است داستان سه راوی دارد که شخصیت های اصلی ماجرا را تشکیل میدهند؛ خواننده از خلال تک گویی ها پی به برخی خصوصیات افراد میبرد اما شخصیت ها بطور کاملپرداخت نشدند. در مجموع باید گفت کتابیست که پند های اخلاقی و مباحثات سیاسی اجتماعی زیادی دارد که در قالب کلماتی ادبی بیان شده اند.

  24. 5 out of 5

    Cleo

    4.5 Stars ......... .5 Star Deduction for an irritating ending and a wee bit of excess with the characters.

  25. 4 out of 5

    Zunaed

    এর আগে "শেষের কবিতা" পড়ে মুগধ হয়েছিলাম। সেই মুগধতা আকাশ পরিমাণ বাড়ল "ঘরে বাইরে" পড়ার পর। রবীনদরনাথ রবীনদরনাথই। বাংলা আর বাঙালির রবীনদরনাথ ভিনন গতি নেই। কেন নেই, সেটা এই উপনযাসটা পড়ার পরে আরেকবার অনুভব করলাম। "ঘরে বাইরে" রবীনদরনাথের রাজনৈতিক উপনযাস হিসেবেই পরিচিত। মূলত সবদেশি আনদোলনের পরেকষাপটেই লেখা উপনযাসটা। গলপের মূল চরিতর তিনজন- বিমলা, নিখিলেশ আর সনদবীপ। বইয়ের সবটুকু অংশই তিনজনের কারো না কারো জবানিতে পরকাশ পেয়েছে। তিনজনের আতমকথায় তাদের জীবনবোধ আর রাজনৈতিক বোধ পরকাশ পেয়েছে পরবলভাবে। আমার মনে হ এর আগে "শেষের কবিতা" পড়ে মুগ্ধ হয়েছিলাম। সেই মুগ্ধতা আকাশ পরিমাণ বাড়ল "ঘরে বাইরে" পড়ার পর। রবীন্দ্রনাথ রবীন্দ্রনাথই। বাংলা আর বাঙালির রবীন্দ্রনাথ ভিন্ন গতি নেই। কেন নেই, সেটা এই উপন্যাসটা পড়ার পরে আরেকবার অনুভব করলাম। "ঘরে বাইরে" রবীন্দ্রনাথের রাজনৈতিক উপন্যাস হিসেবেই পরিচিত। মূলত স্বদেশি আন্দোলনের প্রেক্ষাপটেই লেখা উপন্যাসটা। গল্পের মূল চরিত্র তিনজন- বিমলা, নিখিলেশ আর সন্দ্বীপ। বইয়ের সবটুকু অংশই তিনজনের কারো না কারো জবানিতে প্রকাশ পেয়েছে। তিনজনের আত্মকথায় তাদের জীবনবোধ আর রাজনৈতিক বোধ প্রকাশ পেয়েছে প্রবলভাবে। আমার মনে হল, এরা তিনজন কেবল তিনটা চরিত্র নয়, সেসময়কার বাংলার তিন ধরনের চিন্তা-বিশ্বাসের মানুষ। তাদের চিন্তা ও রাজনৈতিক মতাদর্শের পার্থক্য যেন সেই সময়ের বাংলাকেই প্রকাশ করছে। রাজনৈতিক উপন্যাস পরিচয়ের বাইরে ব্যক্তিগতভাবে আমার কাছে যে পরিচিয়টা বড় হয়ে উঠেছে সেটা হল সম্পর্কের আর মনস্তত্ত্বের উপন্যাসের। তিনজনই চাক বা না চাক, মানুষ হয়ে জন্মানোর দায়ে একটা করে মন তাদের অধিকারে আছে। সেই মন যে পাগল মন, সে যে কত কথা বলে তার কি ঠিক আছে! মানসিক দ্বন্দ্ব, চাওয়াপাওয়া, শুন্যতাবোধ আর টানাপড়েন নিয়েই মূলত এগিয়েছে গল্প। এই মানসিক টানাপড়েনের মূলে আবার রয়েছে সম্পর্কের টানাপড়েন। নিখিল আর বিমলা স্বামী-স্ত্রী। এক সময় তাদের মাঝে প্রবেশ করে সন্দ্বীপ। না, শুদ্ধবাদী ঋষি রবীন্দ্রনাথ এখানেও কোনো পরকীয়া আনেননি। কিন্তু সবকিছুর পরেও মানুষের মন এক রহস্যে ঘেরা বস্তু, তার কোনো হিসেব চলে না। সন্দ্বীপের ব্যক্তিত্ব শেষের খানিকটা অংশ বাদে প্রায় পুরোটা উপন্যাস জুড়েই আচ্ছন্ন করে রাখে বিমলাকে। অন্যদিকে সন্দ্বীপও তার ব্যবহার করতে ছাড়ে না। আর নিখিল যেন অন্যজগতের কেউ, যে মনুর সন্তান হয়ে জন্মে ভুল করে ফেলেছে, দেবকুলেই তার জন্ম নেয়া উচিৎ ছিল। মানুষ তো চিরকাল মানুষের মাঝেই থাকে, মানুষ তাই মানুষের কাছে একান্তই আটপৌড়ে জিনিস। তিনবেলা খাবার ভাতের চেয়ে যে মানুষের বছরের দুবেলার খাবার পোলাও-কোর্মা ভালো লাগে, তা তো মানুষের দুর্বলতা। মানুষ হিসেবে সে দুর্বলতা আমারও আছে বৈকি। আর তাই এই জগতের বিমলা বা সন্দ্বীপের চেয়ে অন্য জগতের মানুষ নিখিলেশের প্রতি একরকম পক্ষপাত কাজ করে আমার। সন্দ্বীপ আগের পাওয়ার কথা বলত, নিখিলেশ বলত সেই পাওয়ার পরের পাওয়া। সন্দ্বীপের আগের পাওয়া আমরা পেয়ে গেছি, কিন্তু নিখিলিশের পরের পাওয়াটাকে সম্ভবত চেয়েছি সবচেয়ে বেশি, অন্ততঃ এখন চাইছি। তাই নিখিলেশের প্রতিই আমার পক্ষপাত। শুধু আমার কেন, আমার ধারণা রবিঠাকুরও তার প্রতি পক্ষপাত দেখিয়েছেন। সম্পর্কের টানাপড়েন, উত্থান-পতন, মানবিক-মানসিক দ্বন্দ্ব আর তার মাঝে রাজনৈতিক আদর্শ-বিশ্বাস নিয়ে লিখতে লিখতে স্বাভাবিকভাবেই গল্প ঝুঁকে গেছে একদিকে। আর সব আন্দোলনের মত স্বদেশি আন্দোলনেরও বেশকিছু নেতিবাচক দিক ছিল, সেগুলো স্পষ্টভাবেই দেখা গেছে উপন্যাসে। এই ঝুঁকে যাওয়াটা কি কেবল গল্পেরই কোনো এক চরিত্রের ঝুঁকে যাওয়া, নাকি ব্যক্তি রবীন্দ্রনাথও সেদিকে ঝুঁকে ছিলেন, তা জানিনা। জানার তেমন আগ্রহও আমার নেই। আমি সাহিত্যিক রবীন্দ্রনাথকে চিনতে পারলেই খুশি, ব্যক্তিকে কেই বা চিনতে পারে? ব্যক্তিগতভাবে আমিও স্বদেশি আন্দোলনের পক্ষে নই সেভাবে। শুরুতে আদর্শ ঠিক ছিল কিনা জানিনা, তবে পরে যে তা উগ্রতার কেরোসিনে পুড়ে যায় তা নিশ্চিত। হিটলারের শেখানো দেশপ্রেম উগ্রতার আগুনে সারা পৃথিবীকে পুড়িয়েছে। যে ধুঁপ এমনিতে পুড়লে সুগন্ধ ছড়ায়, কেরোসিনের আগুনে পুড়লে সেই সুগন্ধও যেন চাপা পড়ে যায়। সে যাক, স্বদেশি আন্দোলনের ইতিহাস যতটা জানি, তাতে আমার মনে হয়েছে ভারতবাসীর বা বাঙালির স্বার্থ না, কলকাতাবাসী একটা গোষ্ঠীর স্বার্থেই ব্যবহার হয়েছে এই আন্দোলন। তবে আমার ভাবনাই শেষ কথা না। এর বাইরেও অনেকে ভাবেন। সেকালেও ভাবতেন। সেরকম অনেকেই রবীন্দ্রনাথকে চিঠি লিখে তাদের আপত্তির কথা জানিয়েছেন। আমি বিশ্বসাহিত্য কেন্দ্রের প্রকাশিত সংস্করণ পড়েছি। তাতে উপন্যাসের শেষে ভিন্নমতপোষণকারী অজ্ঞাতনামা এমনই এক বঙ্গরমণীর এক চিঠির জবাব দেয়া আছে, যা স্বয়ং রবীন্দ্রনাথ দিয়েছিলেন সবুজপত্র পত্রিকায়। সেই জবাবের ভাষাতেই বলি, লেখকের গল্প লেখার উদ্দেশ্য গল্প লেখাই। গল্প-চিত্রকলা বা অন্যকোনো শিল্পমাধ্যমের যে অন্তরতম রস, পাঠক যদি নিজের বলয় থেকে বেরিয়ে তা পান করতে না পারেন, তবে দুর্বলতা লেখকের না, পাঠকেরই।

  26. 4 out of 5

    Tracey

    There is a lot of depth to this slim volume. So much history and philosophy and beautifully written. A look at politics of the time and an age old basic tale of being duped by the one who makes the most noise. One worth reading again.

  27. 4 out of 5

    Aaron

    Great read. I love historical literature like this.

  28. 4 out of 5

    MacK

    Tagore is markedly different from most contemporary Indian authors. While they offer a window for the Western world to observe the changing nature of a modernizing India, Tagore forces the reader to sit through a detailed lesson of the philosophical, and sociological life of an average Indian. Part of that is, naturally, the context in which he was writing. He is not part of modernizing India, but the nobel laureate who was Indian before the country was independent. He agitated against the coloni Tagore is markedly different from most contemporary Indian authors. While they offer a window for the Western world to observe the changing nature of a modernizing India, Tagore forces the reader to sit through a detailed lesson of the philosophical, and sociological life of an average Indian. Part of that is, naturally, the context in which he was writing. He is not part of modernizing India, but the nobel laureate who was Indian before the country was independent. He agitated against the colonial rule, he argued with Ghandi and he wrote the national anthem. His background as a poet is clearly on display here. Philosophical understandings that run shockingly deep are cast off with such poetic aplomb as to leave the reader savoring both the thought and the eloqution. It has all the wit of Wilde with none of the cynicism. Unfortunately, while the translation of these poetic passages leave the reader amazed at his style, the less poetic translations of plot and character development, render most of the book superfluous, instead encouraging a great deal of skimming while on the prowl for the next brilliant quote. Additionally, as informative as the lesson is, it is not always the most enjoyable thing to read. Poetically and philosophically engaging, yes; page turning, not so much.

  29. 4 out of 5

    Hend Aboul Gada

    رواية معقدة شوية بس فيها فكرة فلسفية جميلة مليانة باشارات فلسفية ورمزية صعب تتفهم كلها او من اول مرة بس اكيد دى مش مشكلة الرواية :D اتعاطفت مع بيمالا شوية على الرغم من افعالها لانى حسيت انه كان غصب عنها واحدة شايفة نفسها عادية بل اقل فجأة تلاقى حد رافعها لمصاف الالهة كان لازم دة يزلزل حياتها كلها نيكهيليش بقى تركيبة غريبة وصعب فهمه احيانا تحس فى افعاله ضعف بشع وفى اللحظة دى تتعاطف مع بيمالا فى رأيها وتعذرها لكن لما تيجى تفكر بموضوعية تحس اد ايه الراجل يبعث على الاحترام وانه شايف انه حتى لو مارس حقه فى رواية معقدة شوية بس فيها فكرة فلسفية جميلة مليانة باشارات فلسفية ورمزية صعب تتفهم كلها او من اول مرة بس اكيد دى مش مشكلة الرواية :D اتعاطفت مع بيمالا شوية على الرغم من افعالها لانى حسيت انه كان غصب عنها واحدة شايفة نفسها عادية بل اقل فجأة تلاقى حد رافعها لمصاف الالهة كان لازم دة يزلزل حياتها كلها نيكهيليش بقى تركيبة غريبة وصعب فهمه احيانا تحس فى افعاله ضعف بشع وفى اللحظة دى تتعاطف مع بيمالا فى رأيها وتعذرها لكن لما تيجى تفكر بموضوعية تحس اد ايه الراجل يبعث على الاحترام وانه شايف انه حتى لو مارس حقه فى فرض رأيه دة مش هيفرحه لان تبعا لتفكيره ((ان لم تكن لى فلست لى ولن يثبت الغضب والغيظ والجدل انك لى)) فى اللحظة دى تفهمه جدا وتعجب بتفكيره نيجى للمعلم سانديب بياع كلام شاطر جدا مقنع للغاية يقدر يقنع اى حد انه يبيع اهله يموت نفسه كمان ويبقى مبسوط كمان شخصية غربية فيها متناقضات فظيعة لكن فى رأيى بطل القصة بلا منازع هو اموليا الصغير شخية تشعر معاها بالبراءة والاخلاص والتفانى وعلى الرغم من انسياقه ورا افكار سانديب فى البدايه الا ان فطرته السليمة بتنقذه من سمومه ويكون هو السند الوحيد لبيمالا وهنا بتتجلى معانى الاخوة لحد التقديس اللى بتشتهر بيها الهند واللى استطاعت الرواية دى انها تقربنا من فهمها وفهم كتير من الحياة الهندية وتقاليدها وعاداتها

  30. 4 out of 5

    أحمد نفادي

    حسنا انها أول رواية لي مع طاغور رواية غنية جداااا بالمعاني علي الرغم من بساطتها تستطيع تناولها من جوانب عدة وكل جانب يسلمك للاخر فتستطيع من خلالها معرفة الحياة الاجتماعية الهندية وتقديس الزوجة لزوجها و صراعهم مع الاحتلال وتستطيع فيها أن تجد مقولات وأفكار تغنيك عن الكثير لكن أكثر ما هو مميز فيها هو صراعها الانساني الشخصيات الثلاث شخصية واحدة كنا قد درسنا ف الثانوية العام نظرية فرويد والأنا والهو والأنا الأعلي ولكننا لم نكن مستوعبين أو بمعني آخر كلام نظري نعرفه للامتحان لكن ها هنا وجدته ماثلا بكل حذافي حسنا انها أول رواية لي مع طاغور رواية غنية جداااا بالمعاني علي الرغم من بساطتها تستطيع تناولها من جوانب عدة وكل جانب يسلمك للاخر فتستطيع من خلالها معرفة الحياة الاجتماعية الهندية وتقديس الزوجة لزوجها و صراعهم مع الاحتلال وتستطيع فيها أن تجد مقولات وأفكار تغنيك عن الكثير لكن أكثر ما هو مميز فيها هو صراعها الانساني الشخصيات الثلاث شخصية واحدة كنا قد درسنا ف الثانوية العام نظرية فرويد والأنا والهو والأنا الأعلي ولكننا لم نكن مستوعبين أو بمعني آخر كلام نظري نعرفه للامتحان لكن ها هنا وجدته ماثلا بكل حذافيره فهناك ثلاث شخصيات الشخصية لأولي هي شخصية الزوج نيكهيل وهي تمثل الأنا الأعلي بكل مثاليتها ورغبتها ف الارتقاء والسمو الشخصية الثانية هي شخصية السياسي سنديب وهو السياسي الثائر المفوه الذي يستميل أيا كان بخطبه الرنانة وشعاراته الحماسية ولكن تستتر به الروح الأنانية وكل ما هو سيء وهو يمثل الهو الشخصية الثالثة وهي الزوجة بيمالا وهي تمثل الأنا بحيرتها وترددها فيما بين اتباع زوجها ذو الشخصية الهادئة الوديعة وما بين السياسي سنديب ذو الخطب الرنانة والشخصية القوية رواية تستحق القراءة

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