Inte r n at io n al J o ur n al o f M ul ti disc ip li nar y Re se ar c h a n d D e v e lo pme nt 2 0 1 4 ; 1 (6 ): 8 4 -8 7

IJMRD 2014; 1(6): 84-87

www.allsubjectjournal.com Characters and Characterisation in the works of R. K. Narayan
Received: 05-11-2014
Accepted: 20-11-2014 E. S. S. N. Trimurthy, Rajendra Karmarkar
e-ISSN: 2349-4182
p-ISSN: 2349-5979 Abstract
R. K. Narayan is the doyen of Indo - English writer and is one of the most admired writers in English.
E.S.S.N.Trimurthy He is an excellent writer and a true master of literature. He writes with grace, humour about the lives of
Ph.D Scholar, JNTU (K)
middle class people.
[100PEN05] Research
Narayan's character-sketches have brilliant variety and characteristic individuality that make them
Supervisor, Kakinada,
Andhra Pradesh fascinating. He sees characters in their inter relations with the social milieu of their times. On account of
vibrant quality of Indian life, he chooses almost all characters from the rustic background and sketches
Rajendra Karmarkar them with a vividness of colour within the scope of the short story. Narayan's characters is wide. He
A.U.P.G.Centre, Kakinada. writes, "Everyday I like to meet a new person". Eventually, the colour and variety of India makes public
Andhra Pradesh ---- 533 003. itself in the most convincing manner through his sharply drawn characters. All his people are hale and
hearty, whether they are clerks or coolies. Thus, his fictional world abounds in men and women with
zest for life.
Narayan's fictional world focuses immediate concern with the oddities and eccentricities of men. His
characters, as a matter of fact, are individuals, rather than types. In order to impart individuality to
characters, Narayan employs various devices. His complete objectivity as a creative writer made it
vitally important for him to infuse life into the inhabitants of his fictional world. His characters are
illiterates barring Doctor Raman. As Frank O'Connor says: "The short story has never had a hero. What
it has instead, is a submerged population group". Thus, he is a writer of 'resolved limitation', making
Malgudi as the headquarters of his ambience for his writings. By creating immortal characters, Narayan
as a writer has become immortale.

1. Introduction
One of the most prominent salient features of the modern short story is ‘character analysis’.
The novel deals with the evolution of a character, whereas the short story usually focuses on
the essential traits of the character. This characteristic feature is considered primordial from
the point of view of its significance in the overall pattern of the story. The writer generally
deals with only one aspect, situation or mood since he or she has a restricted field in terms of
space and time. The modern story author views life from within. Hence the characterisation is
sharper and more intense, so that the psychological basis of the action is completely grasped.
Thus a short story writer projects his view of life through the delineation of character, action,
details of natural description, comments of the characters and the images that he or she
employs.
Short story is the most popular genre in English literature. The reasons for its name and fame
is its simple technique. Characterisation is a significant aspect of this technique. E.M.Forster
(1927:36) refers to two types of characters ‘flat and round’. Flat characters were termed as
‘humorous’ in the 17th century, and are sometimes called types, and sometimes caricatures. In
its best form, they are constructed round a single idea or quality. In this context E. M. Forster
(1927:47-48) states : “One great advantage of flat characters is that they are easily recognized
whenever they come in – recognised by the reader’s emotional eye not by the visual eye which
merely notes the recurrence of a proper name”. We have to admit that flat people are not in
themselves as big achievements as round ones and also that they are best when they are comic.
The case of ‘round’ characters is just opposite to the ‘flat’. It is not constructed round a single
idea or quality. It shows many qualities and changes by circumstances. The round characters
have big achievements in themselves. The most enjoyable fictional characters fictional
Correspondence:
characters seem very ‘life-like’.
E.S.S.N.Trimurthy There are various types of traits used for the revelation of a character by the writer, such as
Ph.D Scholar, JNTU (K) general, physical, personal and emotional. Techniques like conflict, action, self-discovery,
[100PEN05] Research contrasting characters, narration and confession and motivated actions help to make the
Supervisor, Kakinada, character ‘round’ and three-dimensional.
Andhra Pradesh

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In the presentation of character, the writer uses direct or “Iswaran”, “Four Rupees”, “A Hero”, “A Career”, “Trail of
dramatic method. Direct method works best for the ‘flat’ the Green Blazer” etc. are remarkable for their eternal
characters and dramatic method suits more to the ‘round’ character sketches. These storiesof character are the most
characters. The story writer presents presents his characters absorbing and where other considerations obtrude, character
at different levels per his or her requirement. Thus, remains the dominant interest. For instance, in “The
portraying a character is a complex process involving a lot of Martyr’s Corner”, the focus is on the chapati-seller rether
work on the part of the author. Narayan has created a than on the violent action. Narayan consistently draws the
marvellous portrait-gallery. His characters are realistic and reader’s attention to the vendor’s drab, monotonous life, his
lively. He has created several immortal characters like Mr. comments on his customers, his attitude towards existence,
Sampath, Jagan, Margayya etc. In the case of short stories, his sense of occupying a niche in the social order, and the
there are Sankar, Subbiah, Swami, Velan, Sastri etc. These sense of dignity and satisfaction that transforms complete
people are ordinarry men and have high ambition for money, dreariness into human significance.
success, love and lively. All the protagonists are individual It is important that we can classify the basic modes of
but at the same time they have universal significance. Narayan’s characters. In the first place, there are so many
Narayan’s character-sketches have brilliant variety and male characters belonging to the group of idealists or self-
characteristic individuality that make them fascinating. He willed. Characters like Dr. Raman (The Doctor’s Word),
sees the characters in their inter-relations with the social Soma (Such Perfection), Sekhar(Like the Sun), Vijaya(The
milieu of their times. Thanks to vibrant quality of Indian Comedian), Nambi (Under the Banyan Tree), Gopal (The
life, Narayan chooses almost all characters from the rustic Antidote), Krishna (The Artist’s Turn) etc, belong to this
background and sketches them with a vividness of colour category. For example, Sekhar, the school teacher, values
within the scope of the short story. He brings the characters truth so much that he would not tell a lie even though he has
into light by pointing out their individual identity of love and to pay dearly for it. When asked by the headmaster to give
anger, joy and sorrow and their elemental feelings. They are his opinion on the former’s musical performance, Sekhar
not showy in expressing their feelings, but the reader tells him that he should not continue his music lesson as it is
observes them in a new perspective and the charter gets an exercise in futility. The next day the headmaster calls him
transformed by the subtle stroke of suggestions by the story and asks him to examine a hundred test papers in one day.
writer. Narayan’s characters are not lined up on opposing Sekhar reflects that, “sitting up all the night with a hundred
sides of the field like football teams, the peasants versus the test papers was a small price to pay for the luxury of
landlords, workers versus capitalists, noble satyagris versus practising truth”. (Lawley Road, P.159).
the “Red Men (the British) as in Rajarao and earlier still in Krishna, the poor artist would not accept anything from the
Anand”.1 His characters, with their oddities and greedy publisher who knows little about art. Gopal, the film
eccentricities, do not strike as figures from Morality plays or actor, would do nothing disaggreable on his birth day as he is
comedies of manners or humours. In fact, they preserve a asked to enact the death-scene the very day the astrologers
basic quality of individuality in spite of their allegorical and have predicted his accideental expiry. While agreeing to play
representative character in some cases. the ominous role, he would atleat wink his eye to assure
Narayan’s characters cover the whole gamut of the lower and himself that he is not dead. In “All Avoidable Talk”, Sastry
middle class society. The range of his characters is wide. has to face a great ordeal when he tries to avoid all aviodable
Narayan writes, “Every day I like to meet a new person”. talks under the instructions of an astrologer, who has warned
Consequently, the colour and variety of India makes public him against an impending calamity. Unable to speak
itself in the most convincing manner through his sharply anything, otherwise, it may bring some harm to him, he
drawn characters. We find the children of the school going endures silently all types of humiliations from his customers
age, the middle-aged men and women and the gardeners and the master.
besides servants. All his people are hale and hearty, whether Vijaya, the comedian, would not accept the compliments and
they are clerks or coolies. His fictional world is peopled a gold medal when he knows that he has failed miserably in
with men and women with zest for life. “Although the making people laugh. Soma, the sculptor, would not maim
Narayan hero does not became a Sthitaprajna- one who on the image of god, though perfection brings disorder to the
account of his ‘settled’ spiritual condition becomes inured to village. Dr. Raman, a well-known practicing doctor “never
the shocks and surprises of life--- he does manifest a pietistic believed that aggreable words ever saved lives”.
feeling for life’s continuity induced by the dynamics of his Interestingly, at the moment of trial, he comes when his
experience that is human and holy”. 2 friend Gopal waits for death-sentence from his lips. The
Narayan’s world abounds in representatives from all walks idealist, for the first time in his life wavers, “If my words can
of life. The readers encounter with characters drawn from save his life, he shall not die”. In the same way, Nambi, the
begging to teaching; the pick-pocket Raju (Trail of the Green great village story-teller, who once made people hold their
Blazer), the wayside vendor Ram (Martyr’s Corner), the breath in suspense, finds his powers failing and tells his
labourer Kali (Sweets for Angels), the gambler eager audience his ‘last words’ and then leads a retired life.
Kannan(Wife’s Holiday), the black marketeer Subbiah (Half- “The rest of his life (he lived for a few years more) was one
a-rupee Worth), the unemployed youth Ranga (Four Rupees), great memorable silence” (An Astrologer’s Day, P.229).
the film actor Gopal (The Antidote), the film actress Bamini Along with the above characters discussed, we have also
Bai (Dasi, the Bridegroom), the artist Krishna(The Artist’s Sastry (The Gold Belt), the astrologer (An Astrologer’s
Turn), the school teacher Sekhar (Like the Sun), the postman Day), Thanappa (Missing Mail), the priest (The White
Thanappa (Missing Mail), the gardener Annamalai Flower), Krishna (The Artist’s Turn), Subbaiah (Half-a-
(Annamalai), the physician Dr. Raman(The Doctor’s Word) rupee Worth), the watchman (The Watchman), etc. In the
etc. Thus we face the kaleidoscopic view of life. Narayan’s story “The Watchman”, the watchman puts his strenuous
characterisation is transparent and convincing. Stories like efforts in order to prevent the girl from committing suicide.
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He explains to her the misery that all people face sooner or Been an early testament of the Women’s Lib Movement,
later. In this context, he says, “If people tried to kill Man Assigned her a secondary place and kept her there with
themselves for each one of them, I don’t know how often such Subtlety and cunning that she herself began to lose all
they would have to drown”. (An Astrologer’s Day, P.64). notions of her independence, her individuality, stature and
Narayan pours life to the character of Subbiah in “Half-a- strength.
rupee Worth”. Subbaiah is a rice merchant-cum-hoarder, A wife in an orthodox milieu of Indian society was an ideal
who earns a lot of money during the period of the World Victim of such circumstances.
War-Two, when the prices of things touch the sky. He In R.K’S stories we notice three categories of women: the
hoards rice in a secret warehouse and sells it high with his submissive women who surrender to their husbands; the
greed during stock scarce in the market. “He never sold rice quarrelsome, complaining who want luxurious life and try to
except in small quantities, and to known customers. He dominate their husbands but can’t snap their marital ties; and
always took their cash in advance, and told them to come late self-assertive independent type who can select their own
… Sometimes he turned the money with: ‘sorry, not ways. While the first two categories are conventional type,
available’ …” (Lawley Road, P.47). Thus Narayan’s the third one is pertaining to the new emerging ethos of
characterisation of Subbiah is very graphic and he remains Women’s Liberation force.
one of his memorable creations among the readers from Women like Kanan’s wife (Wife’s Holiday), the ayah (A
recreation point of view. Willing Slave), Rama’s wife (The Martyr’s Corner),
In the story “Iswaran”, the man of straw, Iswaran is a college Sambu’s mother (A Shadow) etc. belong to the first category
going student who is unsuccessful in passing Intermediate of the conventional women who are modest and docile
Examination is, in fact, a unhappy soul. He decides to end besides religious and loving. Their major concern is the
his life, but just out of anxiety walks down to the Senate Hall well-being of their husbands, and children. They are
and finds his roll number with the second division. He is so sketched as mothers, wives and maid servants and maintain
thrilled at the news that he falls into a hilarious day-dream. the household works. They are easily influenced by the
The lunacy of the moment seizes him and, imagining himself feelings of delight, grief and anger. They believe in ancient
“the sole occupant of the world and its overload”, he rides Hindu laws and stick to them unquestionably. In “A
his ‘horse’ into Sarayu and is drowned. In “Seventh House”, Shadow” the writer lends a moving picture of the mind of a
Krishna, a young and faithful husband whose wife is lying woman who goes to witness the film woven round the life of
seriously ill, is assured by an astrologer that if he is her dead husband. She could not bear the sight of the scenes
unfaithful to her, then he could avert the influence of Mars in in which her dead husband appears. They remind her of her
the Seventh House of his horoscope. Krishna’s deep rich and prosperous life which is now beyond her reach. “In
affection for his wife makes him try in vain to transfer his their years of marries life, how often she quarrelled with him
love to a prostitute. His timid attempt to visit Rangi, a for it: even on the last day he had sat thus after dinner, in his
temple dancer, is frustratedby a well-meaning carriage driver canvas chair, with the newspaper before him….” (Lawlwy
and he finally sorrowfully resigns himself to his fate. Road, P.82). The memory of her husband torments her very
Narayan’s fictional universe abounds in a traditional Indian much that she faints in the theatre.
society where men hold a superior position than women. In In “Dodu”, the title story, Narayan in a soft way lambasts the
his works, Narayan’s immediate concern is with the oddities attitude of the elderly people towards the children. By
and eccentricities of men. Social taboos are imposed on bringing in the Pests-Man climbing up a coconut tree and
women community and traditions are clamped on them. His plucking out the sap found as its top, Narayan creates a
women are not remarkable as characters. He is fascinated to typical South Indian atmosphere. Things which were
know more about street corner or a crowded bus-stop than in collected by Dodu and Ranga remind us of Tom Sawyer, an
kitchen or drawing room. When we go through many of his immortal character of Mark Twain, and his choicest treasure.
writings, we ususlly do not encounter face to face with a If Dodu’s ‘treasure’ consists of yellow pockets of cigarette
woman. When she appears at all, it is naturally as a maid- foils, pieces of coloured thread, attractive book jackets etc.,
servant, or as a mother or as a wife-tolerant and kind-hearted. Ranga goes to school with everything except books, to wit,
However, there are only a few stories like “Mother and Son”, frogs tied to a string, flies in a match box etc. “Ranga”
“A Shadow”, “The Shelter” and “Selvi” or even “Willing presents Narayan at his best. This is one of the
Slave” in which women emerge as having some identity. comparatively early tales which show that the author had
Narayan’s female characters are passive and unimpressive matured so early in his career. It is simple and moving tale
except a few like Selvi (Selvi) and the wife in “The Shelter”. of a motherless child who develops into a frustrated and
He scarcely cares to mention women by their names. They disillusioned youth, good for nothing. Even the minor
are referred to casually as the mistress of the house or as characters --- a peon, a vagabond, a coolie, a teacher, a
Shanta’s mother or simply as mother. However, they play loving father and a kind merchant—have been successfully
their roles in completing the domestic chores. Narayan is delineated.
fully aware of the bad state of women in orthodox male- “Annamalai” and “A Breach of Lucifer” deal with two
dominated society, and in her very mean condition, he finds simple, uneducated, sincere, hard working, faithful servants.
roots of Women’s Liberation. He envisions through the Annamalai is a household servant. Sam is a christian male
character of Selvi and the woman in “The Shelter”, the nurse and attendant. Both leave the scene rather, too,
emergence of a new woman who is very subtle manner tries abruptly. There is ‘something fierce as well as soft’ about
hard to assert her identity. Narayan expresses his own view them. They serve their masters with scrupulous care
regarding thje position of woman in his autobiography, “My throughout. But both are governed by their own impulses and
Days.”_ leave their mastrers in the end in an unceremonious way.
I was somehow obsessed with a philosophy of woman as Their company and conversation inspired their masters to
Oppresses to man, her constant-oppressor. This must have narrate these stories. Each and every story is characterised
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by ‘character study’, a glimpse of mankind and ‘an infusion Nora, that the life she was leading was the life designed by
of India’. In his article entitled “The Fiction Writers in some other person. She shakes off the artificial symbolised
India” Narayan writes, “Every writer…hopes to express by Mohan. Selvi opened a window shutter, just a crack and
through his novels and short stories the way of life of the said firmly, “Go away, it’s not proper to come here at this
group of people with those psychology and background he is hour…” (Old & New, P.76). Thus she tries to learn in order
most familiar, and he hopes that this picture will not only to have a life of her own, her own choice.
appeal to his own circle, but also to a larger audience In “The Shelter” the wife has enough stamina of feeling
outside”.3 “Seventh House” seems to be the continuation of which she exhibits on the day of the final turmoil which is
“The English Teacher”. His marriage was an unconventional the culmination of their marital dishormany. The writer puts
love marriage. In order to avert the influence of Mars in the forth a realistic account of the problem of maladjustment
Seventh House of his horoscope and thereby to save the life between the wife and the husband. “…every other hour they
of his ailing wife, he tries in vain, as advised by his expressed differing views on everything under the sun: every
astrologer, to transfer his love even to a prostitute and a question precipitated a crisis, none too trivial to be
temple dancer. ignored…” (Lawley Road, P.71). The problem of mal-
Narayan off and on picturises woman as assertive and adjustment has reached to such an extent that though they
suspicious and dominating over husbands. In the story “A meet just for a moment, the same old argument crops up
Horse and Two Goats” it is contextual to note the character between them and the wife dashes into the rain and vanishes
of Muni’s wife, who serves as a foil to other female ‘beyond the curtain of falling rain drops’ with her last words,
characters of Narayan. When Muni grumbles at the food “Nothing can hold me thus,” The wife’s last act reminds us
stuff – leaves and drumsticks – served to him daily, his wife of Ibsen’s well-known character Nora in “A Doll’s House”.
comments: When the husband cajoles her into coming back, there
You have only four teeth in your jaw, but your craving is for follows a conversation which reminds us that the story is an
big things. All right, get the stuff for the sauce, and I will indication of Ibsenism and the feminist idea:
prepare it for you. After all, next year you may not be alive “You think you can pick me up when you like and throw
to ask for anything. (A Horse and Two Goats, P.67). Me out when you feel that way. Only toys are treated thus.”
We, as readers get perplexed if any Indian woman will use (Lawley Road, P.73).
such a harsh language when she has got a talk with her She offends her husband on his very face and thus also points
husband. Muni’s wife is rather matured, experienced and out the whole orthodox generation. She brings out her voice
though equally loyal to her husband, she is however, more of the essential being in her suppressed self. The story has
assertive in her approach towards her husband. Similarly in got its contempory relevance as it reflects the shifting value
“Four Rupees”, Narayan elaborates us the wife of a lower of relationship between man and woman. In this way, “The
class home, who is often complaining and suspicious. When Shelter” marks Narayan’s growing realisation of the need for
Ranga returns home late after a menial job, his wife snares: the woman’s standing up for her dignity and identity. This
“It is seven O’ clock? When am I to buy the things and cook also indicates Narayan’s attempt to project his fiction in a
the food? You think I am born to slave? It will be a fine changing perspective to suit the requirements for the current
lesson if you are made to do Without a meal tonight.” Age.
(Lawley Road, P.46).
In the same manner, in “An Astrologer’s Day” Narayan 2. References
describes a typical middle class woman who demands an 1. Haydn Moore William, Studies in Modern Indian
explanation from her husband for the delay and feels excited Fiction In English, 53-54.
at the good earning of her husband: 2. Venkatachari K. R. K. Narayan’s novels: Acceptance of
It was nearly midnight when the astrologer reached home. Life. Indian Literature, 1970, 73.
His wife was waiting for him at the door and demanded an 3. The Atlantic Monthly. The Fiction Writers in India,
an explanation. He flung the coins at her and said, 1953; 192:169.
“Count them, one man gave all that.”
“Twelve and a half annas”, she said over-
Joyed. “I can buy some jaggery and coconut tomorrow.
The child has been asking for sweets so many days now.
I will prepare some nice stuff for her.” (An Astrologer’s Day,
P.6). “Selvi” is the only story which narrates the incident of a
woman gradually freeing herself from the clutches of a male
dominated society. At the outset, Selvi is lured by Mohan
into the glamorous world of music, dance and fashion. She
has been utilised for money and her programme, her
activities and manners are controlled by Mohan. Due to this
process, she loses all her liberty and remained herself as a
puppet in his hands. She got seperated from her mother, who
trained her in music and is thus, sumbolically alienated from
her source. Her mother’s demise shocks her into an
awareness of her degradation and need to face with stiffness.
Hence, she cannot bear the sight of any one belongs to the
mechanical, glamorous world, “please leave me out of all
this, leave me alone, I want to be alone hereafter. I can’s bear
the sight of any one” (Old & New, P.74). She realised like
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