Malgudi: The Heart of R.K. Narayan's Fiction
Personal Information:-
Name:- Dhatri Parmar
Batch:- M.A. Sem 3 (2023-2025)
Enrollment Number:- 5108230032
E-mail Address:-dhatriparmar291@gmail.com
Roll Number:- 6
Assignment Details:-
Topic:-Malgudi: The Heart of R.K. Narayan's Fiction
Paper & subject code:- Paper 201: Indian English Literature – Pre-Independence
Submitted to:- Smt. Sujata Binoy Gardi, Department of English, MKBU, Bhavnagar
Date of Submission:- 18 November 2024
Abstract: This research paper explores the fictional town of Malgudi, created by R.K. Narayan, as a central element of his literary works. By analyzing the cultural, social, and psychological dimensions of Malgudi, the paper aims to demonstrate how this fictional town serves as a microcosm of Indian society. Furthermore, the paper will examine the views of literary critics on Narayan's creation and its significance in Indian literature, alongside dialogues and quotations that highlight its essence.
Keywords: R.K. Narayan, Malgudi, Fictional Towns, Indian Literature, Literary Criticism
Introduction :
Fictional towns have long served as significant backdrops in literature, allowing authors to create unique worlds that reflect social realities and human experiences. R.K. Narayan's Malgudi stands out as one of the most vibrant fictional locales in Indian literature, akin to other notable fictional towns like G.K. Chesterton's Browne's End, Thomas Hardy's Wessex, and Sherwood Anderson's Wineburg,Gabriel García Márquez's Macondo, and William Faulkner's Yoknapatawpha. These authors, like Narayan, crafted settings that became integral to the themes and characters within their stories.
This paper draws upon literary theories that highlight the significance of setting in narrative fiction, particularly the role of place in shaping character and theme. The concept of "space as a character" (Tally, 2013) is particularly relevant, as Malgudi's streets, markets, and institutions reflect the inner lives of its characters. Furthermore, the use of realism in Narayan's works aligns with the principles of social realism, portraying the struggles and triumphs of ordinary people.
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R.K. Narayan's novels and most of his short stories have the depiction of an imaginary small town, Malgudi. It is an old and peaceful town. The inhabitants of this town are very simple and sincere. They have much in common, their social status, their pride of caste, and their pretty quarrels. They always regard their customs and traditions but the contract with the foreign elements has disturbed their tradition pattern.
Malgudi, with its bustling streets, vivid characters, and relatable struggles, encapsulates the essence of Indian life. Malgudi emerges as a central character in Narayan's works. It is not merely a setting but a living entity that influences the lives of its inhabitants.
Critiques and Literary Perspectives :
Critics have praised Narayan for his ability to weave the everyday with the extraordinary. According to scholar K.R. Srinivasa Iyengar, "Malgudi is not merely a town; it is a state of mind" (Iyengar 154). This perspective underscores the philosophical essence of Malgudi as a reflection of human experience.
Additionally, critic K.P. Nayar emphasizes Narayan's skill in using Malgudi to portray the contradictions within Indian society: "Through Malgudi, Narayan presents a landscape of human aspirations and failures" (Nayar 78). This duality is evident in the struggles of characters like Swami, who navigates the challenges of childhood, and the more complex lives of adults in works like The Guide (1958).
As literary critic Meena Alexander states, "Malgudi is not just a place; it is a state of mind" (Alexander, 1994). This sentiment is echoed in Narayan's own words, where he describes Malgudi as “the space between memory and reality”(Narayan, 1973). Through dialogues and interactions among characters, Narayan captures the essence of community life, illustrating how personal conflicts and societal expectations shape individual destinies.
Setting of the Malgudi:
Malgudi, purely an imaginary location created by R. K. Narayan, stands for a small South Indian town. It became the setting for all his novels. His fictional world becomes the world of Malgudi. It is like the Wessex of Thomas Hardy and Lake District of Wordsworth. Once he was asked how Malgudi struck his mind.
He said: I remember waking up with the name Malgudi on Vijayadashami, the day on which the goddess of learning is celebrated. Malgudi was an shocking discovery for me because I had no mind for facts and things like that , which would be necessary in writing about Malgudi or any real place. I first pictured not my town but just the railway station, which was a small platform with a banyana tree, a station master, and two trains a day, one coming and one going. On Vijayadashmi, I sat down and wrote the first sentence about my town; the train had just arrived at Malgudi station. Hatri, Chote Lal, R. K. Narayan: Reflections and Revolutions (Sarup and Sons, New Delhi, 2006 (62)
Malgudi is nowhere located in the map of India. It is originally Lalgudi, situated in the district of Trichinopoly on the river Kaveri. It shares the features such as rivers on one side, forests on another side, Albert Mission School headed by Principal.
Brown, the Cooperative Bank, the newly built bungalows in the Lawley Extension, the Engladia Banking Cooperation etc. It is the Malgudi of Sampath and Margaya. It is the Malgudi of Swami and Rajam, Chandran and Krishna, which has the heart of the setting of the fictional town of Narayan. It is always alive. It is always real.
Additionally, Its lanes and streets are very familiar like one's home town. But it is not a true picture of Malgudi. It has also another dark side, the area beyond Nallapa Grove, the location where the untouchable live. Another prominent feature of the setting of Malgudi is the Sarayu. It is the pride of Malgudi. It reflects the cultural life of this town. The senior citizens of Malgudi take bath here before sunrise and offer water to Surya Devata.
The generation of Krishna and Chandran are not very much interested in these activities. It is the centre of setting of R. K. Narayan's 'Swami and Friends'. Where Mani waits for Rajam and plans to throw him into the river. It is the place where Chandran steals a look of his beloved Malati, Protagonist of R. K. Narayan's ' The Bachelor of Arts'.
Narayan is the only artist, who has portrayed a vivid picture of life in India. His depiction of joys and sorrow, the warmth of human relationship paints the world of Malgudi with colour of a real place.Narayan's portrayal of Malgudi reflects the realities of Indian life, making it relatable to his readers.Narayan's works can be analyzed in the context of colonial and post-colonial India, showcasing the tensions and transformations within Indian society.
Swami and Friends and Malagudi :
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In his debut novel, Narayan introduces Malgudi through the eyes of young Swami. The town is depicted as a place of childhood innocence and adventure, where Swami navigates friendships, school life, and family expectations. In novels like Swami and Friends, Malgudi is depicted as a quaint town where childhood innocence and societal pressures collide. The struggles of Swami and his friends echo the universal themes of friendship, familial expectations, and the loss of innocence.
Narayan’s use of dialogue is both naturalistic and revealing, often providing insight into character motivations and cultural norms. For example, in "Swami and Friends," Swami's conversations with his friends and family highlight the innocence of childhood while also addressing deeper social issues. One poignant exchange occurs when Swami’s mother, concerned about his school performance, advises him: “You must study hard, my son, for the world outside is not as kind as Malgudi” (Narayan, 1935). This statement underscores the tension between the idyllic life in Malgudi and the challenges beyond its boundaries.
Establishment of Albert Missions College is a blessing for the boys like Chandran and Natesan. They spend four years pursuing their bachelor degree there. They are taught Greek drama, Shakespeare, Milton, Wordsworth etc. They are not taught any Indian language or literature They are never taught about Kalidas and Banabhatt whereas; they are made to give importance to Plato and Aristotle. Almost all the characters portrayed in Narayan's novels are Hindus. He has also portrayed some non Hindu characters like Principal Brown, Gaffer, the taxi driver in the Guide and Aziz, principal's peon.
Importance of Malgudi in Mr. Sampath :
The main characters, Srinivas and Sampath, are closely linked to Malgudi. Srinivas, who tries many different jobs, represents the challenges of finding one’s place in the world. His attempt to start a weekly magazine in Malgudi shows his desire to contribute to society, even as he struggles with failure. The town's character—its charm and quirks—mirror Srinivas's own ambitions and setbacks.
The introduction of a printing press and a literary magazine represents a move towards modernity and intellectual discussions. However, this change is balanced against the challenges and stagnation of the town, illustrating the struggle between old ways and new ideas.(“Pattern and Significance in R.K. Narayan’s Novels on JSTOR”)
Malgudi is a place where friendships and conflicts happen. The relationships among characters—friends, coworkers, and rivals—are shaped by the town’s close-knit environment. The interactions are often humorous and ironic, showing Narayan's skill in capturing human emotions.
People of Malgudi:
The people in Narayan's Malgudi are real Malgudians. They belong to the middle class. Generally, they just slip rather than wait outside. Narayan's fictional town, Malgudi is not casteless. His people are well concerned with their own duties and responsibilities. They never dream to throw themselves outside. They love to live within the four walls of Malgudi, their hometown. Chandran, the protagonist of the Bachelor of Arts is strongly opposed by his mother when he thinks to marry a girl of outside. His people are very traditional and strong believer of superstitions. R. K. Narayan accepts them as they are. He has never tried to disfigure and criticize their beliefs.
“What is a good reference point for violence – innocence,” Shetty said. “Malgudi is innocence.”
The theories, myths and detective stories that surround Narayan’s creation seem anything but innocent. In its own wicked ways, Malgudi continues to exercise the imagination, proving the power of Narayan’s prose in making the fictional seem real.
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The erstwhile Arasalu Railway Station, the place that inspired R.K Narayan to write his book, now renamed as Malgudi Railway Station, is the place to relive your Malgudi days.
Conclusion:
R. K. Narayan's fictional town, Malgudi is of a great significance to both the author and readers. It symbolizes the central focus of his imagination. All his stories are interlinked with this small town. It is the source of both pleasure and sorrow of all his living characters. His works demonstrate a vivid picture of Indian social reality. He believes in ' Art for art's sake''. It does not mean he is a writer without any vision of life.
Words : 1768
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