Art And Vision Of Rk Narayan Analysis

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Art & Vision of R K Narayan
Chapter II
A.Phaniraja Kumar

R. K. Narayan is hallmark of Fiction and regarded him a ‘Father of Regional Novel’ along with Mulk Raj Anand, a committed writer and Raja Rao considered a metaphysical writer of Fiction. Mulk Raj Anand could be recognised as the Dickens of India for his zeal of reformation and concern for the poor, R.K.Narayan, his contemporary is Thackery another Victorian novelist for his creation of Middle Class characters and portrayal of average emotions. R.K.Narayan is also said to be the grand old man of Indian English fiction. He is a keen observer of men and matters. Unlike Mulk Raj Anand, he is a pure artist first and last. His novels are governed by his artistic intentions and not by his
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The elements of humour and irony are his forte. His angle of vision determines the content and the atmosphere. His short stories have become very popular for their wit and wisdom. Narayan believes in ‘Art for art’s sake’. This secret of art ability can keep in perfect balance in all his writing. It makes him a subtle writer, concealing irony beneath a blandly simple exterior as a ‘plain’ story teller. To posit R K Narayan within the larger Indian Fictional novel, it is necessary to begin with her biography. Narayan is the 3rd of eight children to his parents and born on 10th October, 1906 in Madras in a wealthy upper-middle class Tamil Brahmin family in Rasipuram, Tamilnadu, India. His father is a school headmaster, worked in so many places in Karnataka State. His father has a taste in English and English Literature.
Narayan sees south India as a fundamentally conservative Hindu society, changing under the impact of the West, industrialism, modern ideas. Conservative India is seen with humour and some satire as a mixture of traditional holiness, with the comfort-loving sterility of the bourgeoisie. Modern India is seen an inevitable, but on the whole, inescapable phenomenon, compounded of external political activism, permissive sexual morals, the breakdown of the traditional extended family system, ‘American’ popular culture and rabid half-lunatic
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His concern is not to expose the evils of the society but to artistically present realities of life in his novels. His novels are aesthetically engaging. In the view of K.R. Srinivasa Iyengar:
Narayan’s is the art of resolved limitation and conscientious exploration: he is content, like Jane Austen, with his ‘little bit of ivory’, just so many inches wide: he would like to be a detached observer, to concentrate on a narrow scene, to sense the atmosphere of the place, to snap a small group of characters in their oddities and angularities: he would, if he could, explore the inner countries of the mind, heart and soul, catch the uniqueness in the ordinary, the tragic in prosaic.1 Narayan beautifully created a local setting, Malgudi (somewhere in Karnataka), a South Indian town as his fictional town. This small town serves as the backdrop for the most of his novels. His creation of this fictional world Malgudi ranted a new chapter in the history of Indian English Fiction. K.R. Srinivasa Iyengar pointed out this town as ‘Narayan’s

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