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5 ?5 6 ASPECTS OF IDENTITY IN THE INDO-ENGLISH NOVEL: : A STUDY OF THREE NOVELISTS RAJA RAO, R. K. NARAYAN AND MULK RAJ ANAND by Ronal d Shepherd B"A. (Hons) . A thesis submitted for the degree of Doctor of Philosophy in the Department of Eng'lÍsh, University of Adelaide June1974. TABLE OF CONTENTS Page iv SUMMARY vi DECLARATION vii ACKNOÌdLEDGEMENTS ix PREFACE INTRODUCTION Chapter RAJA RAO I. SYMBOLIC ORGANIZATION IN THE SERPENT AND THE ROPE 9 II. CHARACTER 0F RAMASI^,AMY 43 III. DUALISM AND NON-DUALISM 60 IV. SYMBOLISM IN THE CAT AND SHAKESPEARE 77 V. MOVEMENT IN KANTHAPURA sv R.K. NARAYAN VI. QUEST, CYCLIC AND LINEAR DIMENSIONS IN THE INANCIAL EXPERT, THE GUIDE AND THE VENDOR OF 112 VI I. . AND IN THE OTHER NOVELS 141 MULK RAJ ANAND UII. THE POWER OF DARKNESS IN ANAND'S NOVELS 160 IX. SOME COMPARISONS IN THE NOVELS OF RAO, NARAYAN AND ANAND 201 General Approach 201 Styl e 206 't1 Chapter Page Myth 211 Myth as Al legory 219 CONCLUSION 229 APPENDIX. 232 BIBL IOGRAPHY 233 't1'l SUMMARY This thesis attempts to examine certain features in the novels of three Indo-Eng'lish authors which might, in some sense,, be calIed "Indian." Chapter I considers the Indian mandala or yantra as a possible conceptual model in Raja Rao's novel The Serpent and the Rope. Chapter II deals with Raja Rao's central character Ramaswamy in the light of the traditional Indian hero and the modern novel hero. In Chapter III we look at some of the com- plexities inherent in Ramaswamy's "pi'lgrimage." Chapter IV considers Raja Rao's modification in The Cat and Shakespeare of the I. more overt'ly emblematic symbol'ism discussed'in Chapter The final chapter on Raja Rao, Chapter V, is concerned with a sense of movement in Kanthapura and the way in which a traditional cyclic form is rendered in the terms of a modern cinematic-ljke technique. Chapters VI and VII deal with structural elements in the novels of R.K. Narayan. I deliberately consider some later novels first, and then go back to look at some incìpient and emerg- ing forms in the earlier works. In these chapters I suggest that, despite the obvious differences between the two authors 'in rela- 'tv tion to subject, sty'le and personal beliefs within Hinduism, there yet exist structural elements common to the designs of both wri ters. I give a single section to the works of Mulk Raj Anand in Chapter VIII. This is l,.argely a study of what might be called the darker side to Anand's revolutionary optimism, but again an "Indian" darkness characteroized by elements of folk- lore and superstition, of ethnic origin. Chapter IX makes some general observatjons on the differences between the three writers. At the same tjme I suggest ways in which they are tied to common patterns as compatriots. This involves a discussion of "myth" and of "al'legory" in view of the broad current of Indian tradÍtion. V DECLARATION This thesis contains no material which has been accepted for the award of any other degree or dip'loma in any university, and (to the best of my knowledge and bel ief ) no material previously pub'li shed or written by another person, except where due reference is made in the text l or notes. The thesis does, however, contain one I) chapter (Chapter which has been pub- lished in slightly modified form in Southern Review Vol. 6, No.2 (June, 1973). vi ACKNOI^ILEDGEMENTS Resources for this thesis came from the three major libraries in Adelaide, South Australia -- the State Public Library, the Barr Smith Library and the Flinders Unjversity Library. Other libraries include the library of the University of Mysore and the National Library, both in Indja. In all of these places I have been given assistance by 'librarians and staff. of I Among those who have been specia'l assistance, am grateful to my superv'isor, Mr. H.M. hJi I I iams, of the Engì ish Department, Univers'ity of Adelajde; and also to the Head of the same department, Mr. F.H. Mares, for his appreciation of my par- t'icular needs. I am also gratefuì to Dr. S.C. Hamex of the Eng- lÌsh Department, Fljnders Unjversity, who has always been help- ful and encouraging. In India I was fortunate to have had stimulating djscussions wjth Professor C.D. Narasimhaiah and members of his English Department staff. And having missed Mr. R.K. Narayan in Mysore, I was delighted to meet him personally at a Writers' l¡leek Conference in Adelaide during March, 1974. At a personal interview Mr. Narayan was very patient while an- swering my questìons and, needless to say, I benefited inesti- mabl' viì The research for this thesis was made poss'ibìe by a University of Adelaide Research Grant and Travel Allowance. v] l'l PREFACE This dissertation is intended to constitute a "thesis" in a faír1y narrow senseof monograph rather than rev'iew. Al- though, for instance, the discussion centres on Indo-English literature I deliberately narrov{ the scope so as to om'it such matters as the sociolog'ical, the theoretical and the more speculative problems often associated with this branch of fic- tion. Even within the given area of "ident'ity" I prefer to dwell on one sort of identity at the expense of others. The word "Aspects" in the t'itle'is meant to refer not on'ly to d'if- ferent phenomena, but also to the same phenomena sighted on a number of separate occasions either in the works of a single author or in the various works of all three authors. In general appearance, the loose ordering of chapters is meant to give the partial impression of a volume of essays, all more or less on the same main topic, but diverging here and there whenever the need arises. A word about th'is "need." If I have followed any single quiding starit has been chiefly the star of my own persona'l in- terests. The path I have taken has been determined by a com- bination of personal interest and an awareness of what has al- 1X ready been said (by other critics) and what still remains to be said. I have deliberate'ly shunned anything as complete (and possibly as monotonous) as a comprehensive survey, preferring to pick on (as they appear to me) the more choice morsels. There are some problems which arise as the consequence of this method, and I mentjon these here to regìster my con- sciousness of possible objections. It mìght be felt that such an approach tends toward distortion, reduct'ive simplification, or other such inaccuracies. Nor would I deny that I am often attracted by the unobvious. In defense, I vrould only make two points. First, that this is perhaps the priv'ilege of the thesis jn as against the more comprehensive treatise, and that fact any approach which tries to specialize must automatjcally reduce or distort b.y virtue of what is left out. Second, that there now exists a sizeable body of literary criticism in this particular area which addresses itself almost exclusive'ly to genera'l des- criptions, abstract speculations, and so on; or else critical works which do l'ittle more than reiterate what is already known and established. In the folìowing chapters I have made a con- scious effort to do otherw'ise. F'inally, I make a p'lea to the spec'ialÍst jn Indjan life and phi'losophy to make allowances for the superficiality of my own knowledge in this sphere. I would remind him that I am not, X

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higher education in France, Mu'lk Raj Anand in England, and R.K.. Narayan his other heroes of Sanskrit drama, even when they bear different names. nancial Expert, The Guide and The Vendor of Sweets -- which rep- resent a A'l though a'l 1 of Narayan' s novel s centre around the theme of