Indo-Anglian literature is the form defined as the contribution of Indian writers in the literature in English language. The Indo-Anglian literature is not essentially different in kind from Indian literature.
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It is a part of it, a modern facet of that glory which, commencing from the Vedas, has continued to spread its mellow light, now with greater and now with lesser brilliance under the inexorable vicissitudes of time and history, ever increasingly upto the present time of Tagore, Iqbal and Aurobindo Ghosh and bids fair to expand with ours, as well as humanity’s expanding future.
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The culture and tradition of India has a distinctive entity of its own, and the enlightened youth of India, though well-versed in English, were not to lose their cultural identity. There were not a few among India’s elite who were moved by a genuine desire to present, before the Western readers, a true picture of India through imaginative literature. The literature came to be designated “Indo-Anglian” Literature.
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Narayan is now regarded as a pure literary artist, especially when one compares him with his two great contemporaries, Raja Rao and Mulk Raj Anand. His sole aim is to give aesthetic satisfaction and his is art for art’s sake. He does not write to propagate his ideas on social or political issues, though when he started his literary career, India was passing through the crucial period of her struggle for independence under the leadership of Mahatma Gandhi.
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Narayan’s literary works bear unmistakable stamp of native sensibility. After having been recognized as an eminent writer, Narayan travelled abroad a number of times, but his basic Indian sensibility was not affected by these tours. He is an Indian to every inch. Though the language he employs is English but his thoughts and spirits, his feelings and emotions, his scenes and situations, characters and their actions are Indian.
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Narayan’s genius as a writer was duly recognized when he was awarded the Sahitya Akademi Award for the Guide in 1960. The novel became so popular that it was translated into many languages of the world and even a film was made on it, though Narayan himself was not very satisfied with the film. He was awarded Padma Bhusan in 1964 by the Government of India for his outstanding contribution to Indo-Anglian literature.
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He was conferred the Honorary D. Litt by the University of Leeds in 1967 and the Delhi University followed the suit in 1973. He has been included in the “Writers and Their Works” series being published by the “British Council” the only Indian so far to have achieved this distinction. Many of his short-stories have been broadcasted by B.B.C, which is a rare distinction. He is popular not only in India but also in Europe and America.
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The Guide is one of the most popular novels of R.K. Narayan and it got him the Sahitya Academy Award in 1960. It got immediate attention of the readers as well as critics and within a very short time, was translated into many languages of the world.
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It narrates the adventures of a tourist guide, popularly known as Railway Raju. Raju begins his career as a stall-keeper but soon he becomes popular as a tourist guide. So, he appoints a boy to look after the stall and becomes a full-fledged tourist guide. One day he comes into contact with Marco and Rosie, who have arrived at Malgudi as tourists. Both the husband and wife are impressed by the Raju and Marco hires him as a full time guide.
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Marco is busy in the study of caves in Mempi Hills oblivious of what is going on between Raju and Rosie. But one day Rosie confesses between him about her relationship with Raju and in this way Marco comes to know about the illicit relationship between Raju and Rosie. He immediately dismisses Raju from his service. After a month, he leaves Malgudi telling Rosie that she is free to go anywhere and that he no longer considers her his wife.
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Rosie is now a deserted wife. She has nowhere to go. Finally she decides to go to Raju and goes to his house. When Raju sees her, he is pleasantly surprised and offers her a shelter in his house. Though Raju’s mother does not object initially, but when Rosie starts practicing dance, she is annoyed. She wants Rosie to leave her house but Raju always comes to Rosie’s rescue. Since Raju is in deep financial problem, he decides to utilize Rosie’s dancing skill for monetary purpose. He succeeds in arranging a show for her.
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Rosie’s first performance on stage is highly appreciated by everybody and soon she gets offers of more and more engagements. Within a short time, she becomes a popular dancer and earns enormous wealth and money. Now Raju lives a life of lavishness on the money earned by Rosie. He is now the business manager of Rosie and anybody who wants to meet Rosie must take his permission.
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Raju falls in love with Rosie at the very first sight and appreciates her beauty and her dancing skill. Rosie is also attracted towards Raju, as she is always neglected by Marco. Raju and Rosie spend a lot of time together and they also satisfy the Carnal desire of each other.
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. One day the postman brings a book which is written by Marco. Raju conceals the book because he is afraid that Rosie might be impressed by Marco’s genius and may decide to go back to him. All goes well till Raju forges the signature of Rosie to get the box of jewellery. As a result of this forgery, he is convicted and imprisoned for two years. Rosie goes Madras and leads in independent life of her own. In the jail, Raju turns out to be an ideal prisoner and his behaviour and conduct is praised by all the officials. The Superintendent of the jail is particularly impressed by Raju and he remits his conviction.
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On his release from the Jail, Raju takes shelter in a deserted temple on the bank of river Saryu, a few miles from Malgudi. The simple villagers take him to be a holyman begin to worship him and bring him lots of eatables as gifts. Raju does not want to offend their sentiments and so acts like a Swami, delivers sermons and tries to solve the problems of the villagers. He is quite comfortable and performs the new role of a saint to perfection. However, soon there is severe famine and drought. There is failure of the crops and wells and tank dry up.
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Velan’s idiotic brother distorts Raju’s message and informs the villagers that the swami will not eat anything until there is rain. The villagers are highly obliged to Raju for his fasting for their welfare. Raju does not want to fast and thinks of running away, but the fear of police stops him from doing so. His fast attracts much attention and people come from far places to have his darshan.
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On the 12th day of his fast, Raju is exhausted and falls down. But there are signs of rain on the distant horizon. Thus Raju, the tourist guide turned prisoner and the prisoner turned swami, becomes a martyr for the cause of the common people.
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The title of the novel, The Guide is an apt symbolic and an evocative as it traces the career of the protagonist, Raju from railway guide, to a dancer’s guide, to a prisoner’s guide, to a spiritual guide. He teaches, helps and guides at various stages of his life and in doing so, the novelist guides us subtly on how to live life and now this mysterious life must go on. Raju’s final role of Swami or spiritual guide transforms him from a corrupt tourists guide to a fake swami, into a genuine altruistic swami. Though successful as a tourist guide and a spiritual guide, he has a fall when he is at the peak.
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Through Raju, the guide, Narayan points out the absurdity of man’s attempt to aspire, man’s insignificance and the mystery of life with all its ironies, Raju is spiritually regenerated when he conforms to tradition and sacrifices for the good of humanity. The novel, thus has a serious message, which is implied through Narayan’s comic vision of life. The title of the novel, The Guide, has a double meaning and Raju is in a sense a double character. As a tour guide and lover, he is impulsive, unprincipled and self-indulgent. After his imprisonment and transformation as a holy man, he is careful, thoughtful and self disciplined.
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Narayan’s comic vision of life is portrayed through double narration. The story unfolds on two time-frames. Raju’s past in Malgudi is recollected by him and his present is narrated by the author, in Mangla. The novel is thus divided into two parts. The first part narrates Raju’s childhood, affair with Rosie and consequent imprisonment. The second part depicts Raju’s release from prison, his growth into a swami and his eventual death. Both the sections move simultaneously.
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This cinematographic technique of double narration and flashback lends charm to the novel and adds to its complexity. It highlights the irony of life and adds compactness to the story. The multiple states of consciousness and snap shots create an impression of continuity and depict the predicament of Raju, as an ordinary man, who has to play the role of an extraordinary creature, while he is fully aware that he is an ordinary man.
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Raju’s career as a tourist guide results in his fall and imprisonment. After his release, the role of a swami is thrust on him and he assumes this new identity with confidence. However, he is trapped in his own net and is forced to undertake a fast to appease the rain-gods and please the devoted villagers. Unable to bear the torture, he decides to confess, but his confession makes velan, his disciple and he trusts him even more.
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He pardons him and paves the way to his martyrdom. Unable to escape, Raju accepts the faith of the people and decides to fast thoroughly. Thus, from a selfish swami, he becomes an altruistic swami. He acquires wisdom, maturity and spiritual rebirth, Through Raju, the novelist focuses on the absurdity of human existence and maintains that everything is accidental-fame, power and money. Though Raju tries, even at the cost of his life, his end and life are a mystery.