Strategy and Theme in the

Art of R. K. Narayan
KEITH GAREBIAN

R
K . N a r a y a n is not, of course, a new w r i t e r . H e has
published ten novels, a t r a v e l d i a r y , a volume of
• causeries, a book on H i n d u mythology, a n d scores
of short stories. B u t the treatment he has been accorded
b y m a n y l i t e r a r y c r i t i c s has not done h i m justice because
most of i t has tended to be superficial or casual. N o one
has attempted to show, for example, how N a r a y a n has a
special w a y of m a k i n g technique serve content.
I propose to rectify some of the superficial c r i t i c a l ap-
proaches to N a r a y a n b y o u t l i n i n g the p r i n c i p a l strategies
employed i n the course of his n a r r a t i v e a r t . W h a t I w i s h
to probe are chiefly the general qualities i n N a r a y a n ' s
l i t e r a r y strategies w h i c h establish correlations between
l i t e r a r y f o r m a n d thematic content.
A l t h o u g h N a r a y a n has not innovated a n avant-garde
f o r m for the novel, he has achieved a homogeneity of theme
and strategy. A master w i t h i n self-imposed l i m i t s , he has
w r i t t e n novels that are of s i m i l a r length (their r o u g h aver-
age is 200 pages) and w h i c h have grace and poise w i t h o u t
possessing either mass or density. T h e y are a l l w r i t t e n
essentially on the themes of e q u i l i b r i u m a n d wholeness
(frequently expressed b y a N a t a r a j l e i t m o t i f ) , employ
cumulative ironies a n d architectonic coalescence, and are
rounded w i t h a cosmic v i s i o n .
A t t h e i r best, the novels do not d r a w undue a t t e n t i o n to
t h e i r strategies for story, r a t h e r t h a n m a c h i n e r y , is p a r a -
mount i n N a r a y a n ' s art, a n d technique is accordingly lat-
ent or veiled b y the i m m e d i a c y of a r t casting a shadow on
life. A l t h o u g h m a n y of the novels are extended parables
 T H E A R T O F R. K. NARAYAN 71

t h e i r m e t a p h o r i c a l cores are not self-serving but subser-

vient to theme. W h e n strategy becomes obvious the story
is u s u a l l y blemished and the force of r e a l i s m vitiated.
N a r a y a n ' s art never reaches its h i g h w a t e r m a r k unless it
conceals its t e c h n i q u e s — r e c a l l i n g D r y d e n ' s f a m i l i a r m a x i m
that i t is an a r t to conceal art.
W h e n we probe beneath the surface of his r e a l i s m we
discover that N a r a y a n is a master of s u i t i n g strategy to
theme. In Sioami And Friends (1935), for instance, it be-
comes evident t h a t the episodic structure of the book is
perfectly i n accord w i t h the K a r m i c theme. K a r m a is a
condition w h i c h describes h u m a n destiny i n terms of the
consequences of a l l h u m a n actions, a n d a p p r o p r i a t e l y the
episodic structure of Swami builds a n existential fate for
y o u n g S w a m i n a t h a n on the basis of the s u m t o t a l of the
boy's choices a n d actions.
Swami, however, is one of N a r a y a n ' s slighter w o r k s and
there is no problem i n identifying the c o n t r o l l i n g strategy.
B u t some of N a r a y a n ' s other novels are less easy to analyse
i n terms of technique for the a u t h o r disapproves of deli-
berate w r i t i n g a n d tries to use strategies t h a t do not dis-
1

tract f r o m the story.

N a r a y a n believes i n a dovetail effect or one i n w h i c h the
various portions of the story g r o w into a single piece w i t h
the joints resting neatly i n harmonious relationship w i t h
one another. 2
T h i s effect can be created only b y one who
is a n expert at a type of organic w r i t i n g w h i c h is self-con-
tained, multi-dimensional, but organized a c c o r d i n g to a n
i n t u i t i o n w h i c h is perfectly congruent w i t h life i n its whole-
ness. N a r a y a n ' s novels generally allow r e a l i t y to reveal
itself at its own pace and coalesce a r o u n d characters. A c -
cordingly, the novels have a sense of shape whose subtlety
is sometimes revealed incrementally. T h e i r architectonic
strategy builds g r a d u a l l y b y cumulative hints, suggestions,
and s l y satire.
T h i s is a m p l y illustrated i n The Printer of Malgudi
(1949) w h i c h is often c r i t i c i z e d for an apparent lack of
72 KEITH GAREBIAN

direction. W i l l i a m W a l s h sees i t as " q u e e r l y hump-backed

i n s h a p e " but w h i l e there is m u c h evidence to support this
3

charge, i t is unwise to dismiss the novel as a lopsided

comedy or a misconceived series of f a r c i c a l digressions. T h e
apparent loss i n focus has a rationale o r method behind it.
A l t h o u g h it begins as another comedy of a confused m a n
and develops into a satire on f i l m production, the novel has
a method to its madness. It is not N a r a y a n w h o has lost
his way, but S r i n i v a s . N a r a y a n knows a l l along where he
is heading although i t is possible a n d justifiable to accuse
h i m of i m p r o p e r emphases f r o m t i m e to time. S t i l l , e m -
phasis is not quite the same t h i n g as d i r e c t i o n a n d a l t h o u g h
S a m p a t h becomes the dominant c h a r a c t e r of the madcap
comedy, i t is S r i n i v a s w h o remains the central traveller i n
the maze of life.
T h i s novel employs cumulative ironies a n d coalescence
as its k e y strategies to satirize the two d o m i n a n t i m p u l -
sions i n S r i n i v a s : t h a t towards pretentious p h i l o s o p h i z i n g
out of p r o p o r t i o n w i t h his p r a g m a t i c efficiency, a n d that
towards a n idealization of N a t a r a j . T h e f i r s t i m p u l s i o n is
s a t i r i z e d b y fragments a n d a n i n t e r a c t i o n between tone
and c h a r a c t e r i z a t i o n . S r i n i v a s is editor of The Banner,
a paper t h a t a i m s for t r u t h a n d v i s i o n — the v e r y elements
l a c k i n g i n his life. T h e prologue lets us follow S r i n i v a s
t h r o u g h the " a b r u p t t u r n s " of M a r k e t Road, a n d suggests
the maze i n w h i c h the central character wanders. W e are
given m u l t i p l e indications of S r i n i v a s ' c o m i c a l l y a w k w a r d
bombast as he r u m i n a t e s about the flow of life and his own
ambiguous i d e n t i t y . 4
S r i n i v a s fancies himself to be a
powerful t h i n k e r but N a r a y a n presents h i m differently:

If only one could get a correct view of the w o r l d : things

being neither p a r t i c u l a r l y w r o n g n o r r i g h t , but just bal-
a n c i n g themselves. Just the required n u m b e r of wrong-
doers as there are people w h o deserved w r o n g deeds,
just as m a n y policemen to b r i n g t h e m to t h e i r senses,
if possible, a n d just as m a n y wrongdoers a g a i n to keep
the police employed, and so on a n d on i n a n i n f i n i t e
concentric circle. H e seized his pen and jotted down a
few lines under the heading ' B a l a n c e of Power.' H e was
occupied f o r f u l l y fifteen minutes. H e s a i d : 'Don't mis-
 T H E A R T O F R. K. N A R A Y A N 73

take me, R a v i , I had to jot down some ideas just as they

came, otherwise I'd lose t h e m forever.' H e felt t h r i l l e d
b y the thought that he stood on the t h r e s h o l d of some
r e v o l u t i o n a r y discoveries i n the r e a l m of h u m a n exist-
ence — solutions to m a n y of the problems that had been
teasing his m i n d for years, (pp. 76-77)
T h e subtlety of such w r i t i n g is felt t h r o u g h the i n t e r a c t i o n
of tone a n d c h a r a c t e r i z a t i o n . S r i n i v a s is presented as the
illusion-filled r u m i n a t o r of pseudo-profound subjects. W h a t
does police employment r e a l l y have to do w i t h the cosmos?
A n d w h y does S r i n i v a s take o n l y fifteen minutes for w h a t
he feels is a s t a r t l i n g discovery?
A s the ironies are compounded we note a pattern be-
g i n n i n g to f o r m . T h e nuclear i r o n y is t h a t the image of
e q u i l i b r i u m is appropriated b y a character w h o is the v e r y
epitome of imbalance. T h e N a t a r a j l e i t m o t i f forms a m y t h -
opoeic m a t r i x for the story for i t unites character, theme,
and plot a r o u n d the polarities of balance a n d imbalance.
S r i n i v a s reveres N a t a r a j but is poles apart f r o m his
idol. N a t a r a j is S h i v a , K i n g of cosmic dance, represented
" w i t h one foot raised and one foot pressing d o w n a demon,
his f o u r a r m s outstretched, w i t h his h a i r f l y i n g , the eyes
rapt i n contemplation, a n exquisitely poised f i g u r e " (p. 19).
H e is a m e d i a l balance between contemplation a n d action,
destruction a n d creation, movement a n d stillness. S r i n i v a s ,
however, is the antithesis of this. A r o u s e d b y S h a n t i (the
actress p l a y i n g P a r v a t h i i n the f i l m based on S h i v a ' s life),
S r i n i v a s finds himself d u p l i c a t i n g the god's lust but not his
b u r n i n g t h i r d eye w h i c h incinerates distraction. H e is i n -
creasingly embroiled i n the frenzy of events at Sunrise P i c -
tures and, w i t h the other p r i n c i p a l characters, encounters
confusion, i n s t a b i l i t y , a n d h y s t e r i a .
A s i n the N a t a r a j legend, however, chaos is i r o n i c a l l y the
beginning of new order. T h e bedlam of the f i l m set passes
just as S a m p a t h does, a n d S r i n i v a s is left to encounter h i m -
self i n the r e a l i t y of life. A s he tries to placate his artist-
friend, R a v i , w h o has t u r n e d h y s t e r i c a l because of unre-
quited love for S h a n t i , S r i n i v a s w h i s p e r s : "Don't you
w o r r y a n y more about S a m p a t h or anyone else . . . . T h e y
74 KEITH GAREBIAN

a l l belong to a previous l i f e " (pp. 245-46). A s i n N a t a r a j ' s

dance, the chaos and e v i l of an e r a are destroyed and fol-
lowed b y order a n d goodness.
T h e closing scenes of the book assert the folly of a life
l i v e d i n illusion and stress that the dissolution of h y s t e r i a
is possible t h r o u g h a renunciation of the past a n d its m i s -
leading ways. " E v e n madness passes. O n l y existence as-
serts i t s e l f " (p. 262). W h e n S a m p a t h returns to relate his
misadventures w i t h S h a n t i , S r i n i v a s is at f i r s t impelled b y
c h a r i t y to invite h i m home but resists this impulse so that
he w i l l not repeat h i s former " m a d n e s s . " H i s act of dis-
sociation f r o m the past is symbolized by the r e t u r n of the
studio-key.
W h i l e this novel, w i t h its lengthy foray into f i l m d o m ,
can h a r d l y support a n i m p u t a t i o n of s y m m e t r y , i t does
reveal N a r a y a n as a clever strategist. W h a t unifies the
parts of the story is the theme of e q u i l i b r i u m (pre-emin-
ently symbolized b y the N a t a r a j i m a g e ) , a n d the S h i v a -
K a m a sequence dovetails neatly w i t h this theme.
N a r a y a n consolidates his subtlety as a w r i t e r w i t h The
Guide (1958), a book w h i c h often comes under c r i t i c a l
s c r u t i n y for its technique. The Guide is a parable w h i c h
uses a braided time-scheme but its chronology is mediocre
i n comparison w i t h some of the experiments of a F a u l k n e r ,
a W i l s o n H a r r i s , a Robbe-Grillet, or a P r o u s t , and it w o u l d
therefore seem that its special achievement lies i n a less
obvious strategy.
T h e tempo of the story is a clue to its strategy. E a r l y
i n the plot there are frequent interruptions, pauses, a n d
breaks i n the n a r r a t i v e but these, upon reflection, accord
w e l l w i t h Raju's a g i t a t i o n and changes i n identity. T h e y
convey a sense of chaos w i t h i n Raju's life but g r a d u a l l y
y i e l d to a more settled flow w h i c h slowly and surely reaches
its moment of t r u t h .
T h e i n i t i a l a g i t a t i o n matches Raju's i n n e r t u r m o i l a n d
the technique is almost cinematic i n its jump-cuts and
flashbacks. I n the opening scene, Raju's isolation is b r o k e n
 T H E A R T O F R. K . N A R A Y A N 75

b y V e l a n ' s i n t r u s i o n . R a m b l i n g t a l k is followed by a flash-

back to Raju's release f r o m p r i s o n . R a j u does not narrate
5

the content i n his flashback; he m e r e l y re-lives i t men-

tally. B u t these private thoughts are i n t e r r u p t e d b y Velan's
revelation that he has a problem. Before the problem can
be articulated, R a j u cuts i n w i t h his story on Rosie. The
impression conveyed b y this sequence of r e c u r r i n g inter-
ruptions is one of compulsive m o m e n t u m — indicative of
Raju's imbalance. H e plays one role after another (actor,
k i n g , god, doctor, a n d guide) (pp. 14, 15, 18 and 9) i n this
sequence and shows the lack of a f i x e d or authentic iden-
t i t y . H e becomes the image of w h a t V e l a n wants h i m to
be and this generates further agitation.
A s the tale progresses, there is a n intersection of Raju's
past turbulence a n d the t u r m o i l g r o w i n g out of his false
roles as guru a n d mahatma. W e are told of his rise and
f a l l as he moved f r o m being a r a i l w a y guide to Rosie's
manager and thence to a convicted c r i m i n a l . B u t as his
turbulent past unfolds we are also shown t h a t his new role
as s p i r i t u a l guide is leading h i m deeper into confusion.
T h e guide gets lost i n the f l u x of his c h a n g i n g identity.
Technique o r strategy becomes a n i n t r i c a t e t h i n g for
N a r a y a n does not w i s h to pile i r o n i c parallels upon one
another i n a crude way. A s Raju's fate is the proper
subject of the tale the n a r r a t i v e is episodic and, as i n
Swami And Friends, harmonizes w i t h the K a r m i c idea.
T h e nature of Raju's v i c t i m i z a t i o n is a n i r o n y and is
emphasized b y paradox. R a j u attains m e r i t b y default and
N a r a y a n establishes situations whence such a paradox can
occur. W h e n R a j u ends the village f i g h t i n g he does so
t h r o u g h a sequence of misunderstandings w h i c h begins
w h e n Velan's m o r o n i c b r o t h e r garbles Raju's message to
the villagers. R a j u is unexpectedly sanctified as a holy
m a n w h o w i l l w o r k a m i r a c l e to save the people.
T h e f i n a l section of the story contains a double paradox.
R a j u is i r o n i c a l l y pushed into a deed for the entire com-
m u n i t y after he has isolated himself. H e finds that for
76 KEITH GAREBIAN

the f i r s t t i m e i n his life he makes a n earnest effort to

p e r f o r m a deed i n w h i c h he is not personally interested (p.
169). T h i s brings h i m s p i r i t u a l m e r i t for i t is an u n -
selfish a n d authentic deed, but because it creates a vast
audience the deed leaves R a j u the object of mass curiosity.
N a r a y a n ' s n a r r a t i v e becomes astringent i n its b r a i d i n g
of time and plot. A f t e r c o m m e n c i n g as a complex cross-
h a t c h i n g of past a n d present, the n a r r a t i v e settles into a
simple l i n e a r design, but the ending carries the central
character out of consciousness and t i m e into timelessness.
W h e n R a j u reaches the c u l m i n a t i o n of his fast, the sounds
of h u m a n i t y lessen, then disappear f r o m his consciousness.
H i s p h y s i c a l debilitation takes its toll a n d R a j u s i n k s
(losing his physical balance) i n the swelling w a t e r as the
event reaches its m e t a p h y s i c a l fulfillment (pp. 175-76).
A l l the moments i n his life are knotted together into a
single instance of " r i p e n e s s " o r f r u i t i o n . " A l l things have
to w a i t t h e i r h o u r , " says R a j u early i n the book (p. 38)
and i t is N a r a y a n ' s strategy to gather together the threads
of time and j o i n t h e m i n a single d r a m a t i c epiphany w h e n
the protagonist becomes least conscious of t i m e a n d the
external w o r l d a n d most conscious of his deed a n d psychic
balance.

The Guide is, of course, only one example of N a r a y a n ' s

parabolic a r t where s t o r y and c h a r a c t e r are u n i f i e d i n a
dialectical pattern w h i c h ends i n a m o r a l . A l t h o u g h The
Guide makes its points w i t h o u t p u s h i n g too h a r d there
are other stories b y N a r a y a n w h i c h are tainted b y a n
overly insistent d i d a c t i c i s m . B o t h The Dark Room (1938)
and Waiting For The Mahatma (1955) are i l l u s t r a t i o n s of
such misadventure a n d they are especially interesting
examples for they provide a n early a n d a later view res-
pectively of N a r a y a n ' s art. The Dark Room has as its
protagonist S a v i t r i , a wife i n rebellion against her t y r a n -
n i c a l husband a n d the I n d i a n convention of acquiescence.
Waiting For The Mahatma is a conversion parable, san-
ctified b y the presence of G a n d h i a n d w r i t t e n as a testa-
 T H E A R T O F R. K . N A R A Y A N 77

ment to S r i r a m ' s m o r a l t r a n s f o r m a t i o n into a disciple of

G a n d h i a n satyagraha (truth-force). However, The Dark
Room has language t h a t is sometimes stiff a n d characters
(apart f r o m S a v i t r i ) w h o are made of cardboard. M o r e -
over, the resolution of the conflict — w h i c h describes
S a v i t r i ' s r e t u r n to her domestic context — compromises
N a r a y a n ' s concern for psychic integrity. T h i s r e s t r a i n t on
his own satire deprives the book of a proper c r i t i c a l v i s i o n
and a s i m i l a r d r a w b a c k occurs i n Waiting where the at-
tempt to compose a G a n d h i a n purana (legendary tale)
doesn't quite succeed because the p o r t r a i t of the M a h a t m a
is, at best, sketchy and, at worst, clichéd. Moreover, p o l i -
tics is not N a r a y a n ' s forte and the turbulent p o l i t i c a l at-
mosphere of the G a n d h i a n period is not w e l l exploited b y
the author. N a r a y a n lacks both the depth a n d the b r u -
t a l i t y of c r i t i c i s m to c a r r y his w r i t i n g beyond its surface
satire. W i t h o u t the m o r d a n t savagery of a J o n a t h a n S w i f t
or the acerbic i r o n y of V . S . N a i p a u l , N a r a y a n appears to
be h a l f i n love w i t h his s a t i r i c a l subjects. H i s dénoue-
ments consequently betray a halfhearted o r u n c o n v i n c i n g
q u a l i t y of attack.

O n the whole, the true value of N a r a y a n ' s parables lies

i n t h e i r comédie-humaine realism. The Sweet-Vendor
(1967) shows w h a t N a r a y a n c a n do w i t h a story whose
subject does not require more powers t h a n he possesses.
T h e r e is a s t r a i g h t - f o r w a r d presentation of c h a r a c t e r and
the lesson emerges clearly. T h e conclusion of the book,
although representative of a t r a d i t i o n a l H i n d u view of life,
is developed o r g a n i c a l l y out of the increasing bemusement
of J a g a n over modern values w h i c h c o r r u p t life.
Perhaps, though, the finest parable b y N a r a y a n i n terms
of the balance between the abstract weight of the story
and the concreteness of setting is The Financial Expert
(1952) w h i c h is the h i g h l y e n t e r t a i n i n g story of a s m a l l -
t i m e businessman w h o acquires a M i d a s touch and w i t h it
a sequence of boons a n d banes i n life. T h e expansion and
contraction of M a r g a y y a ' s fortunes become the central
78 KEITH GAREBIAN

l e i t m o t i f as N a r a y a n reveals his interest i n h u m a n equili-

b r i u m . W h a t is under s c r u t i n y here is not the concept of
m a t e r i a l i s m per se but a n individual's intemperate res-
ponses to his own m a t e r i a l i s t i c appetites. T h e old proverb
" m o n e y is the root of a l l e v i l " is most pertinent to the
parable w h i c h , however, terminates i n M a r g a y y a ' s re-
n u n c i a t i o n of his nefarious m a t e r i a l i s m a n d h i s re-entry
into the joys of c o m m u n i t y . T w o achievements of this
parable are the lesson i n the m o r a l t o l l taken of M a r g a y y a
d u r i n g his extravagant m a t e r i a l i s m , and the strong frame-
w o r k of social conventions to w h i c h N a r a y a n is s y m -
pathetic. T o N a r a y a n it is just as i m p o r t a n t to develop the
little nuances i n setting as it is to reveal the huge a m b i -
tions, unintended villainies, and inveterate vanities of char-
acter. W h a t results is a h i g h l y memorable locale w i t h
equally memorable social and religious norms against
w h i c h the leading characters are set i n conflict. T h u s , i f
we remember M a r g a y y a ' s a m b i t i o n we are apt to recall his
r i t u a l i s t i c propitiations to L a k s h m i . If we t h i n k of M a r -
gayya's m a t e r i a l i s t i c grossness we must also t h i n k of the
domestic tenderness he f i r s t forsakes a n d u l t i m a t e l y re-
trieves. A l l i n a l l , N a r a y a n ' s parable combines metaphor
and l i t e r a l r e a l i t y w i t h i n a n engrossing h u m a n comedy
w i t h o u t s u b m i t t i n g the story to a m o r a l it cannot support.
W h e n N a r a y a n intends his tales to c a r r y more s i g n i f i -
cance t h a n t h e i r plots could support his art falls v i c t i m to
a curious a n d d i s t u r b i n g collision between r e a l i s m a n d
fabulism. S u c h a collision occurs i n The Man-Eater of
Malgudi (1962) w h i c h , i n i l l u s t r a t i n g a classic psycho-
machy, reads m o r e l i k e a roman à these t h a n an authentic
interpretation of life. T h e m o r a l persuasion is so overt
that the plot appears to be a mechanical design of a m y -
t h i c f o r m u l a . W h a t we feel at the end is a considerable
disappointment about the forced and intractable relation-
s h i p between r e a l i s m a n d fabulism.
T h e pivotal conflict is derived f r o m a H i n d u legend where
N a t a r a j contested a rakshasa or demon. The protagonist
 T H E A R T O F R. K . N A R A Y A N 79

i n N a r a y a n ' s s t o r y is named N a t a r a j a n d his antagonist,

V a s u , is a veritable demon associated as he is w i t h dark-
ness, violence, a n i m a l i t y , a n d evil. W h a t emerges w i t h i n -
creasing c l a r i t y is N a r a y a n ' s version of the B h a s m a s u r a
legend where the asura or enemy of the gods is given a
special boon whereby e v e r y t h i n g he touches is scorched.
B h a s m a s u r a , i n v i n c i b l e a m o n g men, makes h u m a n i t y suffer
greatly u n t i l V i s h n u ' s intercession. V i s h n u incarnates h i m -
self as a female dancer of great beauty ( M o h i n i ) w i t h
w h o m the asura becomes infatuated. M o h i n i promises to
y i e l d to h i m only i f B h a s m a s u r a imitates a l l her dance
gestures. A t one point i n the dance, M o h i n i places her
palms on her head, a n d the demon follows suit i n complete
forgetfulness of his o w n special blight. T h e asura scorches
himself into ash a n d the poetic justice of the gods is as-
serted. 6

J u s t as the B h a s m a s u r a legend has its d i v i n e l y ordained

end, the V a s u s t o r y has its expected pattern. Instead of
M o h i n i there is R a n g i , a temple prostitute, w h o is tempt-
ress a n d vanquisher of V a s u . The illegitimate daughter of
a temple dancer, R a n g i entices V a s u b y her sensuality and
plays a n i m p o r t a n t role i n his destruction. A f u r t h e r
strengthening i n the association between the B h a s m a s u r a
legend a n d the V a s u tale occurs t h r o u g h the incident w i t h
K u m a r , the temple elephant. V a s u diabolically plans the
death of K u m a r w h o is comissioned to g u a r d the shrine
of a goddess. T h e elephant (like the monkey, boar, and
tortoise) has a special significance i n H i n d u m y t h o l o g y for
Gajendra was a legendary elephant w h o was once rescued
f r o m p e r i l b y the god K r i s h n a . A s K u m a r stands i n the
m i d s t of a n elaborate celebration, N a t a r a j recalls the
legend of Gajendra and one more l i n k is formed w i t h the
rakshasa m y t h (pp. 140-41).
A s the plot progresses we see how f a i t h f u l N a r a y a n is to
the sentiments a n d patterns of H i n d u mythology. Rangi
betrays V a s u — a l t h o u g h not identically i n the m a n n e r of
a M o h i n i — b y i n f o r m i n g on his plot to k i l l K u m a r . V a s u ' s
80 KEITH GAREBIAN

great p h y s i c a l strength is reduced to a n i n e r t mass of

flesh, a n d N a t u r e survives the rakshasa's threat. T h e r e is
a f u r t h e r p a r a l l e l between the V a s u tale a n d the B h a s -
m a s u r a legend although it is implausible to m y m i n d on
the level of r e a l i s m . W h e n V a s u k i l l s himself b y a blow
a i m e d at mosquitoes w h i c h have settled on his forehead
(p. 185), the entire s t o r y loses its force a n d shrivels to the
level of a m e l o d r a m a t i c re-creation of the B h a s m a s u r a
legend. It is as if N a r a y a n felt compelled to squeeze his
story into a m o u l d pre-established b y m y t h o l o g y .
However, we cannot deny the achievements of The Man-
Eater. T h e story looks to a macrocosmic h a r m o n y beyond
the pale of M a l g u d i and, despite a depression i n the fabric
of r e a l i s m , fortifies the impression of N a r a y a n ' s o p t i m i s m .
A s S a s t r i explains p u c k i s h l y , h u m a n i t y survives the demons
because of divine providence w h i c h curses every raJcshasa
w i t h a t i n y seed of self-destruction (p. 185). A second
v i r t u e lies i n the easy flow of the story — for at least
most of the w a y —• a n d we do see N a r a y a n ' s a b i l i t y to
control tone, character, a n d plot w i t h o u t l o s i n g h i s focus.
W h a t conclusions, then, are to be d r a w n about the p r i n -
c i p a l strengths a n d weaknesses i n N a r a y a n ' s a r t ? My
survey has t r i e d to indicate t h a t this a r t is conservative i n
strategy b y observing its preference for a direct coale-
scence a r o u n d life r a t h e r t h a n for a n i n n o v a t i o n i n struc-
ture. It is a n a r t w h i c h bears a s t r o n g i n c l i n a t i o n to be
parabolic a n d steeped i n comédie-humaine r e a l i s m . A t its
most fluent, i t possesses a m o b i l i t y w h i c h creates for an
audience the sense t h a t life is i m m e d i a t e l y present at the
moment of contact w i t h f i c t i o n a l characters, a n d a special
feeling of congruence between strategy a n d theme. A t its
worst, i t reveals collisions between f o r m a n d content w h i c h
nevertheless do not obscure its creator's penchant for a
good story.

NOTES
iVed Mehta, "The T r a i n H a d Just A r r i v e d A t M a l g u d i Station"
New Yorker, 15 Sept., 1962, pp. 64, 67.
 T H E A R T O F R. K . N A R A Y A N 81
2
V e d M e h t a , pp. 78, 79.
3
W i l l i a m W a l s h , "Sweet Mangoes a n d M a l t V i n e g a r : the N o v e l s
of R. K . N a r a y a n , " A Human Idiom ( L o n d o n : C h a t t o &
W i n d u s , 1964), p. 129.
4
R . K . N a r a y a n , The Printer Of Malgudi (Michigan State Uni-
v e r s i t y Press, 1957), p. 12. Subsequent references to this
edition appear i n m y text.
5
N a r a y a n , The Guide ( N e w Y o r k : Signet B o o k s , 1966), pp. 8-9.
Subsequent references to this edition appear i n m y text.
" N a r a y a n , The Man-Eater of Malgudi (London: F o u r Square
Books, 1965), p. 76. Subsequent references to this edition ap-
pear i n m y text.