Man eater of Malgudi – R K Narayan. I could have profitably rented out the little room in front of my press. On. Market Road, with a view of the fountain, it was. This article attempts to discuss the mythical elements in R. K. The novelist uses ancient myths, legends and folklore consciously as the techniques of narration. By using mythical method and puranic style, Narayan insulates the doctrine of Karma in the novel. Anyone who found his feet aching as he passed down Market Road was welcome to rest in my parlour on any seat The Man-Eater of Malgudi that happened to.
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Originally published in , The Man-eater of Malgudi tells the tale, through the first-person voice, of a printer named Nataraj who lives in the fictional South. Myths in R. K. Narayan's The Man-Eater of Malgudi and The Bachelor of Arts Muzaffar Khan * Dr. G. S. Rathore ** ABSTRACT This paper attempts to study myths. The Man Eater of Malgudi is essentially a novel based on Hindu mythical structure, accordingly referencing to Hindu Gods and Goddesses rather liberally.
Clearing all the junk and old scrap paper, Vasu is meticulous with giving the attic a makeover. He is staying in it till the time he gets a new Bungalow in New Extension area of Malgudi.
Vasu is often absent from the place but when he does come, he makes a ruckus with Sen and the poet. One day he brings a Forest Officer at Mempi forest and introduces him to Nataraj. The officer wants to get his boo—Golden Thoughts-get printed.
Nataraj is not keen on helping a contact of Vasu.
On the other hand, Vasu wants to brown-nose to the officer to get a permit to shoot in the forest. After a while Nataraj relents but Vasu only gets a permit to shoot fowl. This gets under his skin as he wanted to hunt bigger animals like elephants etc. He coerced Nataraj to hop into the jeep and drove off, leaving the lawyer stranded in the shop.
Nataraj was scared that he was being abducted. Vasu calmed him down telling him about the Mempi forest. They were going on a tiger hinting trip. The journey ended at the Mempi village. Here, Vasu discussed the whereabouts about the tiger and Nataraj went to the tea stall near the temple. He was hungry but did not have any money as he was forced to come in this unplanned trip.
Vasu drove off with his companions, asking Nataraj to wait for his return. Nataraj hoped to catch a bus to Malgudi before Vasu returned.
He was a self-made man who had wanted to print cards for a temple ceremony. The temple had a pet elephant called Kumar which everybody adored in the village.
He gave Nataraj tea and some buns to satiate his hunger. He also arranged for him a trip back on the bus, who conductor was a friend. The bus took eight hours to reach Malgudi. The next day when the lawyer came back to the shop, Nataraj was embarrassed about leaving him unannounced the previous day.
Nonetheless, they finalized the order for wedding invitations.
The same day Vasu returned with the dead tiger. He dragged Nataraj to the attic where he had set up shop. It was racked with dead animals, their carcasses and foul smells. Nataraj was perturbed and thought of devising a way to get rid of the nuisance named Vasu from his shop and life. The Talk and the Summons Finally, gathering enough courage and composure, Nataraj sat with Vasu to discuss his stay.
Vasu was rude as ever but Nataraj politely asked about if he had arranged for a new place of accommodation. Vasu declined and counter questioned his intentions.
Nataraj lied to him saying he had a relative who needed the attic space. Vasu took the entire conversation indifferently and stormed off without giving a proper reply. After a few days, Nataraj received a brown letter. It was a legal summons from the Court of Rent Controller.
He was charged with two accounts: renting a place without proper formalities and wrongful eviction of the tenant. He felt desperate and resigned to his fate. The next morning he caught hold of the adjournment lawyer who had been avoiding his shop as he had not paid his bill yet. Nataraj asked for his legal counsel. They went to his office in Abu Lane. Here, Nataraj discussed the entire predicament and the lawyer agreed to help him as per his usual charges. They were able to avoid the appearance in the court the next day and Nataraj sends the lawyer his well earned 10 rupees.
The Dog, the Forester and Rangi Couple of weeks rolled off when Nataraj had a new visitor at his shop. It was the septuagenarian that he used to meet on his morning strolls. He knew Sastri and Sastri told him about Vasu. Nataraj tried to settle the passions and offered to download a new dog for Ramu. Nataraj was missing having a relationship with Vasu even if it is of cynicism and sarcasm. One day the forester who Vasu had brought earlier came back to the shop.
He had come to meet Vasu and warn him about his illegal hunting expeditions in Mempi. Vasu was curt with him and challenged him to prove any misdoing. This made things worse between Vasu and Nataraj as the former suspected him of helping the forester against him. Due to strict oversight at the Mempi forest, Vasu could not continue his hunting spree.
To offset this he started bringing working women and prostitutes to the attic.
One of them was Rangi whose mother was the former dancer at the temple and infamous as a temptress. Sastri knew about the mother and Rangi and was appalled to see the shop turn into a disreputable place. Narayan as an English writer is deeply rooted in the Indian and Hindu traditions. He shares superstitions, Hindu myths, Indian legends, traditions, cultures, philosophies as well as Indian society in his fiction.
Here how he presents Indian mythology in his texts would be analysed. The current article purports to look upon his above mentioned novels, which are fine examples of his tribute to Indian culture and mythology. The former deals with the myth of Bhasmasura whereas the latter indirectly focuses on the mythical love story of Sasanka and Tara.
Key words: They deal with environment, nature, human life, creation of the universe, and heroic conduct of gods, goddesses and human beings. These are the symbolic narrative medium transmitted through both oral and written manner. The great epics like the Ramayana, the Mahabharata and the Puranas are replete with myths and legends. Narayan is a true follower of these great Indian epics and he beautifully pictures the Indian mythology and uses the fables and legends of India in his fiction.
William Walsh writes: Myths and legends, which are an integral part of Indian cultural heritage, contain the basic ideas that govern the entire culture of India or Indianness. He expresses his views and vision of life through these. He does not modify them but through their symbolic representation tries to reveal their timeless relevance.
He created a mini-India, viz. In it he portrayed India of his time and its customs, traditions, myths, legends, magic, epics, and fairy tales. If we talk about religion in his context, it also plays an important role in his novels.
He pictures South Indian families especially the Tamil Brahmin community and its religion and customs. Hindu religion and myths go hand in hand. Hinduism and Hindu tradition and customs play a dominant role.
Indian astrology also plays an important role. His mother every morning offers flowers to gods and goddesses. Hindu marriage customs and activities are clearly seen in this book. It can be said that Indian culture is known as the first and most important divine culture in the whole world. Thus, undoubtedly it can be observed that his fiction is a window to Indian culture and its conflicts.
The Man-Eater of Malgudi The protagonist in this novel is a printer, named Nataraj, who lives at Malgudi in the company of his two friends, viz. Sen, a poet and Sastri, a journalist. His peaceful life is disrupted by the coming of a stranger, viz. Vasu, who is a taxidermist. Nataraj rents his attic to him and it is filled with a number of dead animals eventually. It is not liked by Nataraj and the neighbours.
He created a mini-India, viz. In it he portrayed India of his time and its customs, traditions, myths, legends, magic, epics, and fairy tales. If we talk about religion in his context, it also plays an important role in his novels. He pictures South Indian families especially the Tamil Brahmin community and its religion and customs. Hindu religion and myths go hand in hand.
Hinduism and Hindu tradition and customs play a dominant role. Indian astrology also plays an important role. His mother every morning offers flowers to gods and goddesses.
Hindu marriage customs and activities are clearly seen in this book. It can be said that Indian culture is known as the first and most important divine culture in the whole world. Thus, undoubtedly it can be observed that his fiction is a window to Indian culture and its conflicts.
The Man-Eater of Malgudi The protagonist in this novel is a printer, named Nataraj, who lives at Malgudi in the company of his two friends, viz.
Sen, a poet and Sastri, a journalist. His peaceful life is disrupted by the coming of a stranger, viz. Vasu, who is a taxidermist. Nataraj rents his attic to him and it is filled with a number of dead animals eventually. It is not liked by Nataraj and the neighbours. The book has the popular Indian myth of Bhasmasura. This myth is told more than once by Sastri. His name Sastri, which stands for a man of scriptures, indicates a mythical link.
He tells Nataraj that Vasu possesses all the definitions of a rakshasa, a demoniac creature. In the ancient mythology the demon stands for an embodying force of destruction as opposed to Lord Vishnu, who is a symbol of order, stability and humility.
In the novel, Vasu is introduced as an evil incarnate. He is six feet tall with large powerful eyes, bull neck, large forehead and hammer fist. His character represents evil and symbolizes the negative forces as opposed to the calm and stable personality of Nataraj. He thinks he is invincible, beyond every law.
But sooner or later something or the other will destroy him.