Miyan Nasiruddin – NCERT Solutions
NCERT Solutions for Class 11 Hindi Aroh Chapter 2 – Miyan Nasiruddin
Miyan Nasiruddin is a wonderful sketch (Rekhachitra) written by the acclaimed Hindi author Krishna Sobti. It is a vivid portrayal of a bread-maker (nanbai) named Miyan Nasiruddin who lives in Delhi's old lanes and takes great pride in his traditional craft of making roti. The piece is a beautiful example of how ordinary people carry extraordinary skill and self-respect. Miyan Nasiruddin does not see bread-making merely as a business — for him it is an art passed down through generations. He is proud of the thirty-six types of rotis he can make, each with its own technique, style, and flavour. For all chapters, NCERT Solutions for Class 11 Hindi and NCERT solutions for Class 11 check out main page of NCERT solutions.
Krishna Sobti's language is rich, colloquial, and deeply rooted in the culture of old Delhi, making the sketch feel like a conversation you are personally part of. For Class 11 Hindi Aroh students, this chapter is important both for its literary style and for understanding how authors use interviews and sketches as literary forms. Myclass24 provides fully explained NCERT solutions for this chapter with easy-to-understand language and in-depth answers to all textbook questions.
NCERT Solutions for Class 11 Hindi Aroh Chapter 2 – PDF
Get free PDF of Miyan Nasiruddin question answers, summary & character sketch from Myclass24.
Key Facts – Miyan Nasiruddin
| Detail | Information |
|---|---|
| Piece Name | Miyan Nasiruddin |
| Author | Krishna Sobti |
| Genre | Rekhachitra (Character Sketch) |
| Setting | Old Delhi's Matia Mahal area |
| Main Subject | Miyan Nasiruddin – a nanbai (bread maker) |
| Central Theme | Pride in traditional craft, dignity of labour |
| Language Style | Colloquial, vivid, interview-based |
| Text Type | NCERT Class 11 Hindi Aroh (Prose) |
Important Question-Answers – Miyan Nasiruddin
Q1. मियाँ नसीरुद्दीन को अपने पेशे पर क्यों गर्व था?
मियाँ नसीरुद्दीन को अपने पेशे पर इसलिए गर्व था क्योंकि उनका परिवार पीढ़ियों से नानबाई का काम करता आया था और उन्हें छत्तीस प्रकार की रोटियाँ बनाने की विधि पता थी, जो एक दुर्लभ कला थी।
Q2. लेखिका ने मियाँ नसीरुद्दीन के व्यक्तित्व को कैसे प्रस्तुत किया है?
लेखिका ने मियाँ नसीरुद्दीन को एक स्वाभिमानी, परंपरावादी, और अपनी कला में निपुण व्यक्ति के रूप में प्रस्तुत किया है जो बातों में बेबाक और अपने हुनर पर भरोसा रखते हैं।
Q3. रेखाचित्र किसे कहते हैं? यह कहानी से कैसे अलग है?
रेखाचित्र किसी व्यक्ति या स्थान का शब्द-चित्र होता है जिसमें लेखक अपनी अनुभव-दृष्टि से उसकी विशेषताओं को उकेरता है। यह कहानी से इसलिए अलग है क्योंकि इसमें कोई काल्पनिक कथा नहीं होती — यह यथार्थ पर आधारित होता है।
Genres Comparison – Prose Forms in Class 11
| Genre | Language Style | Example in Aroh |
|---|---|---|
| Kahani (Short Story) | Narrative, fictional | Namak Ka Daroga |
| Rekhachitra (Sketch) | Observational, colloquial | Miyan Nasiruddin |
| Yatra Vritant (Travelogue) | Descriptive, personal | Spiti Me Barish |
| Lalit Nibandh (Essay) | Lyrical, reflective | — |
FAQs for NCERT Solutions for Class 11 Hindi Aroh Chapter-2 Miyan Nasiruddin
Nasiruddin ka vyaktitva buddhimaan, vinodpriya aur vyavaharik hai. Ve kathin paristhitiyon ko apni chaturai se sambhaal lete hain. Kahani mein unke jawab aur harkatein hansi paida karti hain, lekin unmein gehra jeevan-anubhav bhi chhupa hota hai. Nasiruddin samaj ki kamiyon par halka vyangya karte hue logon ko sochne par majboor karte hain. Unka charitra is baat ka udaharan hai ki buddhi aur samajhdari ke saath vyakti kathin samasyaon ka samadhan nikal sakta hai.
Paath ka mukhya uddeshya manoranjan ke saath-saath jeevan ki samajh dena hai. Nasiruddin ke prasang pehle hansi paida karte hain, lekin baad mein unka arth samajh aata hai. Lekhak ne dikhaya hai ki samajik vyavahar, ahankar aur andhvishwas par halka vyangya karke logon ko jagruk kiya ja sakta hai. Is paath se chhatra seekhte hain ki buddhi, vinamrata aur tvarit soch kabhi-kabhi shakti se bhi adhik prabhavshali hoti hai.
Is paath mein hasya aur vyangya ka sundar mel hai. Nasiruddin aam ghatnaon ko aise mod dete hain ki samaj ki kamiyan ubhar kar saamne aa jaati hain. Unke prashn aur uttar sirf manoranjan nahi karte, balki ahankari aur moorkh vyavahar par chot bhi karte hain. Vyangya ke madhyam se lekhak ne bataya hai ki sachchai ko hamesha gambhir bhasha mein hi nahi, balki hasya ke roop mein bhi prabhavshali tareeke se rakha ja sakta hai. Isi wajah se yah paath pathakon ko hansaate hue sochne par majboor karta hai.