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The Castaway:
Towards evening the storm was at its height. From the terrific downpour of rain, the crash of thunder, and the repeated flashes of lightning, you might think that a battle of the gods and demons was raging in the skies. Black clouds waved like the Flags of Doom. The Ganges was lashed into a fury, and the trees of the gardens on either bank swayed from side to side with sighs and groans.
36 pages, Paperback
First published June 4, 2014
6 people are currently reading
36 people want to read
About the author
Rabindranath Tagore
2,608 books4,280 followersAwarded the Nobel Prize in Literature in 1913 "because of his profoundly sensitive, fresh and beautiful verse, by which, with consummate skill, he has made his poetic thought, expressed in his own English words, a part of the literature of the West."
Tagore modernised Bengali art by spurning rigid classical forms and resisting linguistic strictures. His novels, stories, songs, dance-dramas, and essays spoke to topics political and personal. Gitanjali (Song Offerings), Gora (Fair-Faced), and Ghare-Baire (The Home and the World) are his best-known works, and his verse, short stories, and novels were acclaimed—or panned—for their lyricism, colloquialism, naturalism, and unnatural contemplation. His compositions were chosen by two nations as national anthems: India's Jana Gana Mana and Bangladesh's Amar Shonar Bangla.
The complete works of Rabindranath Tagore (রবীন্দ্র রচনাবলী) in the original Bengali are now available at these third-party websites:
http://www.tagoreweb.in/
http://www.rabindra-rachanabali.nltr....
Tagore modernised Bengali art by spurning rigid classical forms and resisting linguistic strictures. His novels, stories, songs, dance-dramas, and essays spoke to topics political and personal. Gitanjali (Song Offerings), Gora (Fair-Faced), and Ghare-Baire (The Home and the World) are his best-known works, and his verse, short stories, and novels were acclaimed—or panned—for their lyricism, colloquialism, naturalism, and unnatural contemplation. His compositions were chosen by two nations as national anthems: India's Jana Gana Mana and Bangladesh's Amar Shonar Bangla.
The complete works of Rabindranath Tagore (রবীন্দ্র রচনাবলী) in the original Bengali are now available at these third-party websites:
http://www.tagoreweb.in/
http://www.rabindra-rachanabali.nltr....
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Displaying 1 - 3 of 3 reviews
March 6, 2024
This tale is a testimonial on human relation.
The plot revolves encircling the protagonist Nilkanta, a boy of seventeen years old. The account, since beginning to the end tells us about the poignant expedition of that boy.
Nilkanta was an orphan. Nothing was known about his parents, family, relatives or friends. Since his birth, he did not know what motherly love or fatherly care was. He without doubt did not remember when he joined the Theatre group. So, it is unquestionably apparent that he had little conception of anything societal or familial. He had no cocoon where he could recede.
Throughout the entire story, the writer has tried to prove that human beings are bound by adore and emotion alone. Nilkanta met Kiran inadvertently. Kiran was physically ailing that time. Arrival of the boy in her life changed her as well as helped her recover sooner than expected. The boy stayed with her family and Kiran took a tepid interest in him.
Unsurprisingly, Kiran showered her motherly amour and affection to this lonesome boy. She treated him with benevolence and care. That orphan was more than elated at finding a home in that wealthy family.
Kiran had his company and he kpt no stone unturned in entertaining her with his play-acting and elocution.
Nilkanta enjoyed his autonomy passionately as he used Sharat's pipe, and his spotless bed. He knew it well that Kiran would for eternity shield him. He was like a raw mango, who ripened under Kiran's fortification.
He was matured and developed too under her care and tutelage. She, as if, provided a new bearing to his life. He even tried to get little education just to polish his life as a gentleman.
Satish's arrival in the family brought about a change in his existence. Kiran now spent most of her time in Satish's companionship. Though she still had fondness towards Nilkanta but barely had any time for him.
In conclusion, the time had come when they decided to go back home. It was simply a matter of using Nilkanta and casting him off when the needs were sufficed. The family used him and did not inconvenience themselves on his account. Ultimately, when the inkstand was lost, they blamed Nilkanta openly. Kiran sought to shield him.
The final standoff ensued, when the inkstand was discovered by Kiran in his box. Kiran neither spoke of it nor did she think of chastising the boy. Nilkanta was ashamed nevertheless. He could not think of a way to eradicate Kiran's misconstruction. As a final point he decided to leave without telling anything to Kiran.
Therefore, we can almost certainly say that he would have gone elsewhere to be cast away again.
Nilkanta was a born 'Castaway' who swam in the waters of his thoughts to be cast ashore on the land of his imagination.
This new world was both enticing as well as supremely alluring. Kiran appeared to be the Goddess who had given him asylum. The Godforsaken and vulnerable boy was mesmerised by "her gracious lovely face, her exquisite arms, her rosy feet," and with some magic, she became the part of his songs. When the singing ended, the mirage also faded bringing him back to the unsympathetic world of reality.
Thus, he was a 'Castaway' in real life as well. No one cared for him and he longed for love and affection.
The plot revolves encircling the protagonist Nilkanta, a boy of seventeen years old. The account, since beginning to the end tells us about the poignant expedition of that boy.
Nilkanta was an orphan. Nothing was known about his parents, family, relatives or friends. Since his birth, he did not know what motherly love or fatherly care was. He without doubt did not remember when he joined the Theatre group. So, it is unquestionably apparent that he had little conception of anything societal or familial. He had no cocoon where he could recede.
Throughout the entire story, the writer has tried to prove that human beings are bound by adore and emotion alone. Nilkanta met Kiran inadvertently. Kiran was physically ailing that time. Arrival of the boy in her life changed her as well as helped her recover sooner than expected. The boy stayed with her family and Kiran took a tepid interest in him.
Unsurprisingly, Kiran showered her motherly amour and affection to this lonesome boy. She treated him with benevolence and care. That orphan was more than elated at finding a home in that wealthy family.
Kiran had his company and he kpt no stone unturned in entertaining her with his play-acting and elocution.
Nilkanta enjoyed his autonomy passionately as he used Sharat's pipe, and his spotless bed. He knew it well that Kiran would for eternity shield him. He was like a raw mango, who ripened under Kiran's fortification.
He was matured and developed too under her care and tutelage. She, as if, provided a new bearing to his life. He even tried to get little education just to polish his life as a gentleman.
Satish's arrival in the family brought about a change in his existence. Kiran now spent most of her time in Satish's companionship. Though she still had fondness towards Nilkanta but barely had any time for him.
In conclusion, the time had come when they decided to go back home. It was simply a matter of using Nilkanta and casting him off when the needs were sufficed. The family used him and did not inconvenience themselves on his account. Ultimately, when the inkstand was lost, they blamed Nilkanta openly. Kiran sought to shield him.
The final standoff ensued, when the inkstand was discovered by Kiran in his box. Kiran neither spoke of it nor did she think of chastising the boy. Nilkanta was ashamed nevertheless. He could not think of a way to eradicate Kiran's misconstruction. As a final point he decided to leave without telling anything to Kiran.
Therefore, we can almost certainly say that he would have gone elsewhere to be cast away again.
Nilkanta was a born 'Castaway' who swam in the waters of his thoughts to be cast ashore on the land of his imagination.
This new world was both enticing as well as supremely alluring. Kiran appeared to be the Goddess who had given him asylum. The Godforsaken and vulnerable boy was mesmerised by "her gracious lovely face, her exquisite arms, her rosy feet," and with some magic, she became the part of his songs. When the singing ended, the mirage also faded bringing him back to the unsympathetic world of reality.
Thus, he was a 'Castaway' in real life as well. No one cared for him and he longed for love and affection.
June 15, 2017
A short story that is perfect potpourri of the traditional and modern values, that the society of that time was undergoing. It highlights the prevalent customs in Bengal, where leisurely outings to have a change of air for the sick person, were quite commonplace. And the World was innocent enough to literally adopt a teenage orphan, without any apprehensions
December 26, 2025
It only documents certain social practices, otherwise I found it quite ordinary.
Displaying 1 - 3 of 3 reviews