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Langu age & Litera ture

Categ ory: 1

Topic : Socia l Realis m in R K Narayan~ short storie s

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Rese arch Ques tion: How does R K Narayan use~huroQr an~ irony to
depic t socia l realis m in his short storie s?
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Word Coun t - 4291

Pages -18
 1ttde;c
-- Contents of this Essay-- - ~

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li'IIS
Page Numbers

Title Page with Research Question 01

Introduction 03-05

'Tiger's ClwtV' :,,- 06-07

I

'Gatema □'s Gift' 7

08-10

~sueh PeffeetigA' 7 011-012

, 'Fatbec's l:telp' 7
013-014

( 'BliAd Ogg' 015-016

Conclusion 017

Citations and Bibliography 018

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v{)\,I.D ~ ~ f cw\- u:f- R K.. 'N ~ ~ •
R.K Na yan is one of the bodacious stars in the whole galaxy of fictionists, due to his righteous

credit for his chlevements. He came from a hum~le south Indian background where he was

consistently invig ated to indulge in the study of literature and fluent arts. He is one of many

influential figures who ade India accessible to people in foreign countries. He gave people a

window of opportunities to ep into Indian ideologies and cultures. He interprets Indian life

purely from the' art for art's sake erspective, balancing complete objectivity and perfect

impartiality. His direct, fluent, and desc ive style of writing with a subtle touch of light-hearted

humor in frantic situations is often compared to e of the most significant American authors,

William Faulkner. -

Th~ is no specific perfect or sinful character in his writings. He portrays human nature for what

ws. He does it in a very interesting and memorable way. The characters portrayed

almost appear to be a little profane and ethereal. He is the master of

realism and angst. The huma · solence, individually contradictory in their environment, have

been presented in the most genuine ma ~ characters, situations, and incidence are real

and true to everyday life. ~·

attem or a style of writing in fiction, nonfictional, literary means which
' and poverty-stricken people. Social realist artists depict or
orkers

\I ir lives in a realistic, explicit way. They try to inculcate all

the elements of literary realism, realistic settin with relevant and relatable names of

characters, in-depth detail of the everyday occurrences olving around the characters, a

credible plot where the readers would feel connected to the story, about the profoundness of

the dialects found in the story, the gradual character development and its e ~ levance to

the story and lastly, the importance of representing the social classes.He presents before us the

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childhood, •~~pbringlng. Tho people In It wore the people ho met in his ovoryday fife. He

thus created a placefh\every Indian could relate to. A place, where, you go "Into those loved

and shabby streets and s~he excitement and certainty of pleasure, a stranger approaching

past the bank, the cinema, the haircutting saloon, a stranger who will greet us, we know, with

some unexpected revealing phrase that will open the door to yet another human existence,"

quoted by Graham Greene. They are completely helpless creatures tom by desire and tossed

away by Iha tum of late. . ~

E h story is meant to reflect a different component of life in Malgudi. The town is an emotional

curiosi f R.K Narayan, it's not merely the backdrop of his writings, but a protagonist who is

present in one ay or another to witness the happenings in his everyday life. His quality of

realism differs from ce to place, at places, it is potent and sometimes puny. The humanity,

·realism, and individuality each an~ every character is portrayed S? beautifully to us. There is

always a humorous implication situations that engrosses the readers.

His writings are optimistically engros ~· amusing due to the dissonant mixture of social realism

_and fiction. The limitations of the human ~ d correspond with the outward characteristics of

Narayan's environment. Thus, his art is refined a d straightforward, directing the affluent ideas

of the wits. 3This is done with artistic impersonality an distinct objectivity. There is no
I •

didacticism, no philosophy, no propaganda involved in thei reation. They are drawn with

extraordinary delicacy and tenderness, admirable integrity, and I telligence. The novelists do not

control and govern them but let them be free. The viewpoints express ~by them are the logical

outcome of their personality. VVhat is remarkable is that Narayan's chara~ remain committed

to the search of true meaning in life.

a Az.am, S.M.RaliqUe, Moharrrnad Ejaz Alam In 'The lmaDlanl& of Malgudi' <µlied that ·1n fact, the 8Ul0e66 of R K. Narayan lies in attriblil~
ll1ivefSalily to tis oommonplace characters. The non-heroes finally 1!1101ve into heroes.
 'The Tiger.a Claw., where we see portrayal of stark reality
- the unpleasantness that
accompanies situations In life, the survival challenges
faced by man, the follies and foibles of
humans, sadness and embarrassments that are more
a part of our life like those fleeting
moments of joy are all presented by the author with close
resemblance to life.

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I Is sto1 talks a lot about the reali~!~ features that th~u
u.nnam c7,( ft..L ~ J ~
ttior has artistically captured io ~
d.~ ~-n Q-n d.- --fue. ~ Aetf i,iq
, The. c r~ '-v~ l'Yla.M.' -<--rdJc.ocLu.-u.& ~
,.Qteglf'ilS, uom palge¼,Malgudi days; ; ~ f 'such jou brought me to a village Kopal. It is ,fr7:a,£J

~~
not really a village but a clearing with about forty house 1
s and two streets hemmed in by the "
. . .\ _ . ~ ~to..h O""- mo .o~ kme
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Jungle on all sideS._,:;rtAd hAe 14, page 59, Malgudi Days
; · roe1cme tGJJis heffle;- a very tiny w
stone building consisting ofjust one room, kitchen and 1J o... I > ~~ he.-
a backyard, #Re slaftDlJ..t1taGte, lived
- - his wile and,,,.,.,. dlildlen:~ n ""1lers •~ visiona,y town, ~ b cajlli,llea _
'-1he reader to comwtt~ unomamented scenery,¼ 'c: J~eseiz~ rs ~~ ~
b r ~·:;~m
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~ ns. yet their joy in partaking with e ryan e.-
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On line 6, page 58, Malgudi days; • The station master
with the nags under his arm • became ~ Pt.a.n:t:eJ..
excited on seeing me. He had seen so few travellers o 2-!>r de.. ~ \
arriving that it gave no end of pleasure to ~ \
see a new face.· The wordsmith uses these lines to describe the
expanse in human J..uu...g • • .. • \
correspondence , ingenuous use of informal style and CL Co r ./Ir o-iN- uJ_u _g
certain dialects :n the narrator's _cvte..pe,,, ~ •
vocabulary, together with the novelty in the humdrum
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for OJ'I e)<- ca..Wt-t.j e r n i he er
of life.
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Along with these components, the author uses witticism
in sedate situation to cope with the b~
dilemmas present fore of the characters, from line 26,
page 61, Malgudi Days; ·From my shelter \I 1 Ll.a,.q .e,J
1peeped at the tiger, who was also watching me with one_ ()O:f-
interest.Evidently he didn't like his meal to & e. man.if
be so completely shut out of sight' and line 32, page
61 , Malgudi Days ; "My end was nearing . I tlA.cx ..t;- ~
really pity the woman whose lot it was to have becom
e my wife.· Through these lines we know
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that the narrator wants to depict a theme of venerateness at the prospect of a tiger but instead

of using a weapon, he uses sarcasm as a reMation , piquanting the audience into a mirth due

to the detachment of charecter's mindset to the scenario acquainted before it.

Towards the end of the narrative , to a description of comprehensive details about a' brave

victory ' as narrated by the author in line 32, page 63, Malgudi Days, • I cut out, let me confess,

three claws, before I had done with him. I had become as bloodthirsty as he. (Those claws,

mounted on gold, are hanging around the neck of my three daughters. You can come and see

them if you like sometime.)" This standpoint talks about a sense of attainment, valor that the

character feels which is extremely foolish and false according to the narrator. This extent talks

about magnification and adjoins a touch of satire towards the end of the story.
 Bibliog raphy
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hof,20everyone%20fears
ps,// en w1kipedja oral .k. wa1gud1-days/summaryJ
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he-r'I 1/Malaudi o ays <sho
bttps ://ww w brit rt story collectiool
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tes&VL pdf .spsrohrn1 ·com/ siteS/defaulUfiles/8%2
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• https ·//brajoly ioLQ r tlqers-claw-r-k-narayan/
• . . . _____ ___ ues 100(4377393
• http. //sitt mgb ee.com/such-o .
http·//sitf b - _erte ct,on +k-narayan/
• htto·/- / mg see com /gate mari ·tt
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• https hartss .ccom/
o st~u dygu~. de-malgudi-days/#gsc.tab-O
• http://sittjngb . m/lit/swami-and -friends/chapter-1
ee.com/qateman5:gift-r-k-narayan/

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