UNIT 4 A TIGER FOR MALGUDI: STYLE

AND CHARACTERIZATION
Structure
4.0 Objectives
4.1 Introduction
4.2 Narayan’s Prose Style
4.2.1 His Indianness
4.2.2 Narrative Techniques
4.2.3 Language
4.2.4 Satire, Irony, and Humour
4.3 Characterization: Major Charactors
4.3.1 Raja the Tiger
4.3.2 Captain
4.3.3 The Master

4.4 Minor Characters

4.4.1 Rita
4.4.2 Madan

4.5 Let Us Sum Up

4.6 Answers to Check Your Progress

4.0 OBJECTIVES
In this Unit we will take up R.K.Narayan’s style and his art of characterization.
After reading this Unit you will be able to understand Narayan’s narrative technique,
his language and the elements of satire, irony and humour present in the novel.
You will also be able to analyse the major characters in the novel as well as
explain the role of the minor characters.

4.1 INTRODUCTION
Creative writers make use of a variety of literary devices and techniques. These
are intended to embellish the language; to further the meaning of a passage or the
argument of the author; or to produce certain artistic effects. In this unit we shall
discuss some of the devices and techniques used by Narayan in writing the novel,
A Tiger for Malgudi.
Further, in a novel, characters are persons endowed with qualities that are expressed
in what they say and what they do. While delineating the characters, the author
may present his/her characters talking and acting and leave the reader to infer the
motives and dispositions that lie behind the talk and action of the characters. This
technique is called ‘showing’. Or the author himself or herself may intervene in
order to describe and evaluate the motive and dispositions of the characters. This
technique is called ‘telling’. In this novel, Narayan uses the technique of ‘showing’.
In this unit, we shall also analyse three major characters and two minor characters.
As you know, the three major characters are Raja the tiger, Captain and the 49
Master. Among the minor characters are Rita and Madan.
A Tiger for Malgudi
4.2 NARAYAN’S PROSE STYLE
In this section, we shall analyse the various aspects of Narayan’s prose style as
reflected in A Tiger for Malgudi. William Walsh, a distinguished critic, says of
Narayan:
“His writing is a distinctive blend of western technique and Eastern material, and
he has succeeded in a remarkable way in making an Indian sensibility at home in
English art.”
Let us first look at Narayan’s ‘Indianness.’

4.2.1 His Indianness

While reading the novel, you must have noticed the Indianness of Narayan with
regard to the themes, motifs, etc. Narayan’s work is deeply rooted in the Indian
mode of living. So lets first study the Indianness in Narayan’s style:
The main theme of the novel—the transformation of a tiger—is typically Indian.
(As you know, Indians in general believe in the existence of the soul and its
evolution.) The motif of a Guru or Yogi leading his disciple to higher levels is also
Indian. In the present novel, Raja, the tiger, raises himself to the higher levels with
the help of a Yogi. There are many references to Indian concepts and scriptures
like Karma, the Bhagvad Gita, etc. Fantasy is always present in traditional Indian
epics and stories like The Ramayan, The Mahabharata, The Panchatantra
and The Jataka Tales. (Fantasy may be defined as something which is hardly
possible in life.) Despite the realistic descriptions of the forest life, the circus life,
and the cinema shooting scenes, fantastic elements like a tiger possessing a soul
and who follows the discourses of a Yogi and elevates himself, are woven into the
fabric of the novel. Narayan, sometimes, uses Indian English expressions such as
“all your blessing and cooperation”.

4.2.2 Narrative Techniques

In the novel, Raja, the protagonist, tells his story to the visitors at the zoo. So the
mode of narration is autobiographical. The narrator (Raja) directly appeals to the
visitors that he possesses a soul within the forbidding exterior, and welcomes them
to come in and listen to the story of his life. Then he switches back to the past
and narrates the story in the first person singular (‘I’). The narration moves
forward chronologically, each succeeding episode or event being linked with the
previous one. There is no looking backward or forward and no probing of the
subconscious or the unconscious. In the narration, most of the scenes are ‘shown’.

4.2.3 Language
Narayan’s language is simple and readable. As V.Y.Kantak says, “it can always
subtly convey the flavour of Indian speech in an Indian setting without any of the
awkwardness of translation. He does not attempt to find words equivalent to that
delicious Indian vocabulary of abuse, of bawdry, of endearment”. This statement
is amply testified by the description of the Collector’s office scene, the school
scene, and the domestic squabbles between Captain and his wife. Indeed, as
William Walsh says, “Narayan’s language is beautifully adapted to
communicate…an Indian sensibility.”

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4.2.4 Satire, Irony, and Humour A Tiger for Malgudi: Style
and Characterization
Let us now discuss another three elements of Narayan’s style: Satire, Irony, and
Humour, (Remember: these three elements are interrelated). Talking about
Narayan’s work, Walter Allen says: “What distinguishes his work is a seemingly
all-embracing, compassionate acceptance of the absurdities, pathos,
frustrations….of everyday life”. With the help of satire, irony and humour, Narayan
translates human qualities into his writing. Let us examine the way he does it:
Satire: It is the art of diminishing a subject by making it appear ridiculuous. In
Narayan’s work, satire occurs in a certain character, situation, or passage of
commentary on some aspect of human nature.Human beings think that they are
superior and that animals are inferior. But Raja, the tiger, passes the following
satirical comments on human nature:
“Human beings have their own theories, and it is always amusing to hear them
think about us. Such ignorance and self-assurance!”
“For one used to the grand silence of the jungle, the noisy nature of humanity was
distressing.”
“Tigers attack only when they feel hungry unlike human beings who slaughter one
another without purpose or hunger.”
The following are some satirical comments made by the Master:
“Never use the words beast or brute. They are ugly words coined by man in his
arrogance. Human beings think all other creatures are ‘brutes’, awful word.”
“He is no brute…no more than any of you here.”
If we look at the situation in the scene at the Collector’s office, we notice that
Narayan satirises the behavior of the officials who do not take prompt action but
insist on official formalities. This scene is replete with satirical remarks. The following
piece is a sample:
“The Collector observed them for a moment and said, ‘Have you brought your
petition in writing?’ They looked terrified, having no notion of the world of letters.
The Collector felt compassionate and said, ‘I can’t take action unless there is
a written petition. Go to a petition writer….Get the petition on a stamp paper
of one rupee and fifty paise and leave it with my clerk at the office. Then I’ll fix
a date for inspection and take action.”
In the school scene also, there are satirical remarks on the overemphasis on
official formalities. While discussing the ways to get rid of the tiger, some teachers
remark: “We can’t buy even a cane except through the D.P.I’s sanction.” (p.127)
On the rampant corruption in government offices and on corrupt officials, Narayan
makes his characters offer satirical comments as follows: “Every time we come,
we bring him some offering: cucumbers or sugarcane, pumpkin, melon, or anything
else. Never see him bare-handed, and yet he is unhelpful.”
In the school scene, the Chairman of the local chapter of the Save Tiger Project—
who first does not allow Mr. Alphonse to shoot the tiger—declares the tiger a
man-eater and gives written permission to Mr. Alphonse after accepting a substantial
bribe from the latter.
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A Tiger for Malgudi From the above instances you can see that Narayan’s satire is mild, and not bitter.
Irony: It is a statement in which the literal meaning of a word or statement is the
opposite of that intended. Dramatic irony involves a situation in which the audience
shares with the author the knowledge of which the character concerned is ignorant.
When Captain proposes a trapeze act through a ring of fire, his wife Rita opposes
it and says:
“I’m not prepared to spare any of my girls or set fire to myself just to please your
fancy. I’m not an orthodox wife preparing for sati.” (p. 58) Ironically, Rita
commits suicide (Sati) after her husband’s death.
There is another ironic situation on the film set. Captain first refuses to use the
whip or electric metal gadget on the tiger whom he loves but the same Captain,
having been overcome by greed for money, uses the electric gadget on the tiger.
Humour: It is defined as the amused perception of the incongruities of life and
the artistic expressions of such perception. The following conversations between
Captain and his wife are humorous:
“All our animals…are in excellent condition”, he boasted at breakfast. “Yes” said
his wife, “they are tended better than your family”.
“You must say something unpleasant—otherwise you are never happy.”
“Your beloved animals may also have something to say if they could speak.”
“While your wit and eloquence are reserved only for the tiger and the rest, I
suppose.”
“Yes, they need introduction not you: why are you always talking like this?
Something wrong with our horoscopes….” “Your horoscope and the tiger’s seem
to be better matched,” She would say. (p. 68)
You must have noticed that satire, irony, and humour are inter-related: Sometimes
irony is present in satire and humour is present in satirical comments and ironical
situations.
Check Your Progress 1
A. i) Write briefly about the Indianness of Narayan’s style (about 50 words).
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ii) What is the mode of narration used by the author in this novel?
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 iii) ‘Narayan’s satire is mild, and not bitter.” Justify this statement by citing A Tiger for Malgudi: Style
examples from A Tiger for Malgudi. and Characterization

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iv) What is irony? Cite two ironical situations from A Tiger for Malgudi?
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v) Describe one humorous incident from the present novel (which is not
referred to by us) in 100 words.
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B. Match the items in column A with their meanings in column B.
A B
i) devious fast, prompt
ii) wield strict
iii) rigorous not straightforward
iv) intimidate have and use
v) swift repeat
vi) recapitulate frighten

4.3 CHARACTERISATION: MAJOR CHARACTERS

A novel’s success lies in part in the extent to which the writer has been able to
make his/her characters come alive. Let us now discuss some of the major
characters in A Tiger for Malgudi.

4.3.1 Raja, The Tiger

The title of the novel, as you know, refers to a tiger. The narrator of the story is
the tiger; and the novel is based on the story of the tiger’s life. So we can say
that Raja, the tiger, is the protagonist of the novel.
If you have read the novel carefully, you must have noticed that there are four
distinct stages in the life of Raja. Let us analyse the growth of Raja’s character
through a discussion of these four stages: 53
A Tiger for Malgudi Stage 1
During this period, Raja has fear of none, strikes terror in others, and considers
himself “the Lord of the Jungle”. He always expects the other animals to show
deference to him and to withdraw from his path. He uses the earliest opportunity
to punish the recalcitrants. Thus, the youthful vigour, pride, and carefree behavior
of Raja are described in the first stage of his life.
Stage 2
Youthful Raja comes across a tigress one day; he fiercely fights with her first,
loves her later and begets a litter of four cubs. Raja lives happily with his family
making a cave his home till the day the tigress and the cubs are shot dead by
human beings. After losing his family, Raja strays into human habitation and carries
out regular raids for cattle till the day he is captured by Captain, the proprietor
of the “Grand Malgudi Circus”. The intelligent tiger learns the tricks of the circus
and becomes its main attraction. The tiger, thus wins the admiration of Captain.
Later, Madan, a film producer, plans to make a film on Raja and Captain agrees
to lend the tiger for the shooting of the film. On the film set when the pain inflicted
by the electric metal gadget becomes unbearable, the loyal tiger warns Captain
to keep himself away from him. But, as the greedy Captain persists in subduing
the tiger with the dreadful weapon to perform the act of standing on his hind legs,
the tiger kills him in an act of self defense, while trying to knock the metal out of
his hand.
Thus the major events in the life of the tiger during Stage 2 are: the happiness of
family life, the pangs of separation from his family, the trials and travails of day-
to-day existence for making a living, etc. This phase also highlights the intelligence,
the dignity, and the loyalty of Raja.
Stage 3
It is during this period that the spiritual transformation of Raja takes place: Unaware
of the spiritual powers of the Yogi, the ferocious tiger tries to resist his influence
but later surrenders himself completely and follows him like a disciple. The Yogi,
in his turn, does not allow the people to call the tiger “a brute”, treats him as an
equal and takes him out of Malgudi. The Yogi (or the Master, as Raja calls him)
and the disciple (Raja) make the forest at the foot of Mempi range their home.
Having recognized a kindred soul in Raja, the Master discusses difficult concepts
like God, Karma, etc. with him and gives discourses on the Bhagavad Gita. The
presence of the Master and the discourses on philosophical matters transform the
tiger slowly. The transformation is described by Narayan convincingly:
“Nowadays the keenness of my hunger was all gone, and I slipped away into the
jungle, not too often, only when I felt I could not stand hunger anymore”. (p.158)
Thus the main events in the life of the tiger during stage 3 are: to be in the
company of a noble person; to listen to philosophical discourses; and to meditate
on supramundane matters. This phase also highlights the discipline, the
receptiveness, and the concentration of Raja:
Stage 4
During this period, the tiger’s spiritual evolution is described in the following
54 words:
“This phase of life I found elevating: the change churning internally was still felt A Tiger for Malgudi: Style
and Characterization
by me.”

Further,

“One morning I was lying at the feet of my Master; he was sitting in meditation….at
such moments a profound silence prevailed; and the sublime state to which he
had raised his mind carried mine also along.” (p.165)

After Raja becomes old, the Master entrusts him to the authorities of a zoo and
parts company with him for attaining Samadhi. The Master, before taking leave,
predicts that Raja will make hundreds of visitors to the zoo happy. During stage
4, Raja reaches a sublime state with the help of the Master.

To recapitulate: In stage 1, Raja is ferocious and proud; in stage 2, his intelligence,

discipline and loyalty are high-lighted; in stage 3, he is receptive to higher ideals
and consciously makes efforts to elevate himself; in stage 4; he attains humane
qualities.

4.3.2 Captain
Captain hails from Abu Lane in Malgudi town. By dint of hard work he rises to
the ownership of the “Grand Malgudi Circus”. He is diligent, persevering and
innovative. He is meticulous in attending to the needs of every animal and is
efficient in managing the circus troupe consisting of hundreds of men, women, and
animals. Though he is strict during the training period, he has deep concern for
his animals and regulates the hours of work and rest for them.

Captain has special consideration for Raja as the latter is the main attraction of
the “Grand Malgudi Circus”. His consideration for the tiger’s dignity is so great
that he first refuses to pull out Raja’s claws or to use electric shocks to subdue
Raja while the film shooting is on. But, overpowered by greed for money, Captain
finally uses the electric weapon and gets killed by the tiger. It is not that the
Captain is entirely devoid of feelings but his feelings are subordinated to his
business interests.

To recapitulate: Captain is diligent and innovative. He is meticulous in handling his

circus troupe. He has special consideration for the dignity of Raja. His greed for
money finally brings him death.

4.3.3 The Master

The Master is another fascinating character in this novel. In his early life, the
Master, like any ordinary man, studies in a college, gets a job, marries, begets
children, prospers, and becomes respectable. But, one day, like the Buddha, he
leaves everything behind, and renounces the world because of ‘an inner
compulsion’. He attains the spiritual level of a Sanyasi. He attains serenity and
wisdom through Yoga and meditation. The Master recognizes a kindred soul in
Raja, the tiger, and helps the latter to transform himself—from the subhuman level
to the supramundane level.

Further, the Master, despite his attainments, does not allow people to take “dust
from his feet.” He declares: “You must prostrate only before God. You should
seek only God’s darshan….the same god resides within all of us.” 55
A Tiger for Malgudi The Master’s words are always full of wisdom. Before handing over Raja to the
zoo authorities, he tells him: “No relationship, human or other, or any association
of any kind could last forever. Separation is the law of life right from the mother’s
womb. One has to accept it if one has to live in God’s plans.” (p 174)

4.4 MINOR CHARACTERS

Let us now turn our attention to the minor characters in the novel. Even though
their role may be limited within the scheme of things, yet Narayan has made them
come alive.
4.4.1 Rita
Rita, a minor character in the novel, is the head of the trapeze team in her
husband’s “Grand Malgudi Circus”. She is very skilful in doing the trapeze act.
But at home, she is a nagging wife. She often indulges in altercations with her
husband and teases him for treating the animals better than his family. The following
piece serves as a sample:
“She muttered, ‘He has lost all sense of humour….only animals seem to be fit
for his company.’
He told himself, ‘Women are impossible, worse than twenty untamed jungle
creatures on one’s hand at a time.’
If we judge merely by these conversations, we are likely to conclude that Rita and
her husband do not love each other. But actually, Rita is a devoted wife who feels
uneasy about her husband’s safety whenever he is out with the tiger. Finally when
her husband dies, she commits suicide. Thus her death reveals her intense love
for her husband.
4.4.2 Madan
Madan is a typical representative of his tribe of greedy, unscrupulous pragmatic
film producers. Having been impressed by the tiger’s performance in the circus,
Madan, entertains the idea of making a film on the tiger and a giant wrestler. He
behaves obsequiously till he gets the permission from Captain to use the tiger in
his film. Having bought over Captain with his money, he dictates terms to him. He
does not bother about the dignity of the tiger and does not hesitate to ask Captain
to use an electric shock on the tiger, to make him perform the act of standing on
his hind legs. His unscrupulousness is responsible for the untoward situation in
which Captain gets killed.
Check Your Progress 2
1) Attempt a character sketch of Rita. (about 50 words)
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2) Who is Madan? How does he contribute to the development of the plot of the
novel? (about 50 words)
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 A Tiger for Malgudi: Style
4.5 LET US SUM UP and Characterization

From this Unit, you must have gathered how R.K. Narayan builds up the story
of his novel with a skilful use of the narrative technique of “showing”, with which
he makes all his major and minor characters reveal themselves through their talk
and actions. At the same time, he makes the story very interesting by injecting a
lot of humour, satire and irony into the various situations and episodes. The felicity
with which he uses the language makes his style racy, yet simple and immensely
readable. Narayan’s language is simple and readable. His Indianness is clearly
reflected in his work. The narrator uses the first person singular (I) and the
narration moves forward once the narrator switches back to the story of his past.
The narration is replete with satire, irony, and humour. The various major and
minor characters have been discussed and their role in the novel has been delineated.

4.6 ANSWERS TO CHECK YOUR PROGRESS

Check Your Progress 1
A. i) Hints: The Indian belief in the existence of the soul— a guru leading his
disciple to attain higher levels  mention of Indian concepts and
scriptures—fantasy, like a tiger possessing a soul etc.
ii) Narayan makes his protagonist, the tiger, tell his story to the zoo visitors,
in first person singular ‘I’, and the narration moves forward
chronologically. Thus the mode of narration is autobiographical.
iii) By making his characters do the talking and by not offering any value
judgements—Narayan succeeds in writing in a satirical style that is mild
and not bitter.
iv) Refer to the section on irony under Section 4.2.4
v) Hints: Headmaster’s plight on seeing the tiger enter his room, Jaggu’s
behavior on the day of the film shoot; Alphonse’s actions as he prepares
to kill the tiger.
B. i) devious - not straightforward
ii) wield - have and use
iii) rigorous - strict
iv) intimidate - frighten
v) swift - fast, prompt
vi) recapitulate - repeat
Check Your Progress 2
i) Hints: Reeta’s abilities as a trapeze artist, her relationship with her husband.
ii) Hints: Film producer and director—plans to make a film with Raja— his
behavior on the film set that eventually drives Raja from there to Malgudi.

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